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THE-GRAPHIC 
DRAWING-BOOKS 

BOOK*ONE 



THE-PRANG-COMPANY 












SUGGESTIONS TO TEACHERS 


General Plan 

Book One of the Graphic Drawing Book series presents the subject of Art Ed¬ 
ucation through the following topics: nature, landscape, animals and the human 
figure, design and construction, color theory and picture-study through master¬ 
pieces. The lessons are so classified that they may be presented as they appear 
in the book, or they may be changed about and adapted to any course of study. It 
is suggested that the making of a color chart, a model of which is given on page 
2, be used as the final exercise of the year, as more satisfactory results will be at¬ 
tained, if the children have had a year’s experience in handling mediums. Full di¬ 
rections for carrying out the work will be found on page 1. 

The blank pages in the book are to be used for mounting the best examples of 
the pupils’ work. 

Nature Drawing 

Pages 3, 5, 7, 36 and 39 suggest a variety of subject matter for nature draw¬ 
ing. If cat-tails are not obtainable in a particular locality, other growths of sim¬ 
ple line and large masses may be substituted. Grasses, grains, sedges or even some 
large seed-pods might be used. Where it is possible, two mediums—crayon and the 
brush and color—have been illustrated. One page in the drawing book may easily 
mean a week’s practice from similar material, in school. Paper-cutting, such as is 
presented on page 5, is an excellent way to study nature forms, and is one of the 
best solutions of the ever present problem of “occupation” work. Full directions 
for flower painting are given on page 40. Use the flower that is native to your 
locality, and one in which the children are interested. 

Landscape Effects 

Pages 19, 32 and 34. The introduction to landscape should be accomplished 
through paper-cutting. Colored papers are a necessity here. If a sufficient vari¬ 
ety of colored construction papers are at hand, some really beautiful and decorative 
effects are possible, that are entirely within the ability of first grade children. Land¬ 
scape effects cut from colored papers are more suitable for the decoration of cal¬ 
endars, book-covers, Christmas cards, etc., than pictorial effects obtained by the use 
of water color. Page 19 gives full information as to the handling of water color 
for this work. 

Figure and Animal Drawing 

Pages 9, 11 and 13. The interest of children in cats and kittens is never ceas¬ 
ing. Some one’s pet kitten, or the “school cat” may be induced to pose for the 
lesson. Two mediums are illustrated on page 9. Paper cutting of the shapes of 
cats may also be given. Black paper used at Hallowe’en for this exercise will be 
of unusual interest. The stick-laying exercise on page 11 should be done from pic¬ 
tures. One large picture of an interesting ariimal may be hung from the black¬ 
board moulding, and the children may occupy themselves in laying the shape with 
sticks. Page 13 is eloquent in suggestion. Bogus or gray paper, white chalk, black 
crayon and a suitable “pose” will insure the success of this lesson. It might also 
be given as a blackboard exercise. 


(Continued on Page 3, of cover.) 



©CI.A3G1913 




3 


THE 

GRAPHIC 

\ 

DRAWING BGDKS ; 

A SERIES OF GRADED DRAWING BOOKS 
PRESENTING GRAPHICALLY, BY MEANS 
OF PROGRESSIVE STEPS, A COURSE IN COLOR, 
DRAWING, DESIGN, CONSTRUCTION AND 
PICTURE STUDY 



THE PRANG COMPANY 














rr ? 7 

SUGGESTIONS FOR PROTECTING THE COLOR CHART 

The Color Charts in this series of Drawing Books are painted by hand,—the 
work of an expert colorist. It is impossible to reproduce by any known process of 
printing the exquisite color quality and velvety bloom of these Charts. It will be 
readily seen that such delicately adjusted colors will not stand, without injury, the 
usual wear of a school text book. For this reason, the following suggestions are 
given for their protection : 

1. Mount the Chart for this book on a piece of cardboard a little larger 
than the size of the Chart page. A little paste applied to each of the four 
corners is all that is necessary. Make a cover for the Chart by cutting con¬ 
struction paper, of a grayed tone, one inch longer than the longest measure¬ 
ment of the cardboard. Paste this extra inch to the back of the top of the 
cardboard. Fold over to make a hinge. This can be done in primary grades. 

2. Follow the steps given above, adding an easel support to the Chart, 
by pasting a strip of cardboard about 2" x 6" to the back, as a brace. Score 
the strip about an inch from the top, to make the hinge. Paste the inch 
space to the back of the Chart. This device will hold the Chart in an upright 
position, when it is so desired. 

3. Make a passe-partout case for the Chart. Cut a piece of cardboard 
y 2 " larger on all sides than the Chart. From a sheet of transparent celluloid, 
cut a piece the size of the cardboard. Fit the cardboard and the celluloid to¬ 
gether and paste passe-partout binding on three edges,—two long and one 
short edge. This makes an open case, into which the Chart may be slipped. 
An easel back may be added, if desired. When protected in this way by the 
transparent cover, the Chart may be used in class-room work without being 
removed from the case. 


Pages 1 and 2 of this book consist of a detached Color Chart which should accompany each book. 


Copyright , 1914 ., By The Prang Company. All Rights Reserved. 




1 


A PRACTICAL COLOR THEORY 
Color Chart No. i 

To the Teacher 

The Color Charts in this series of books present a color theory which will be 
found of the greatest assistance in establishing color standards and color harmon¬ 
ies. The Charts may be duplicated by the pupils or they may serve as standards of 
technical color, to which the various exercises in design and color may be referred. 
The making of a Chart, after the model on page 2, may be easily accomplished by 
children completing the first year of school, as it involves only the laying of even 
washes of yellow, red and blue. Water color is the best medium for such work; 
but in case water colors are not availabble, the children may, with colored crayons, 
try to lay even tones of color, matching in strength the colors given in the Chart. 
The teacher should herself prepare a Chart, following the directions given below. 

The Color Chart 

If we place a glass prism in the sun so that a ray of light passing through 
the prism is thrown on a white or black surface, we shall see upon that surface 
the rainbow series of colors. Each color at its greatest strength or intensity is 
called the standard, or normal of that color; and these standards, together with the 
intermediate colors seen between them, we try to represent in the Color Chart. In 
dealing with paints and dyes, we find that there are three colors which are the basis 
for all other colors. These three, yellow, red and blue we call primary colors, 
because they are in themselves elements and cannot be produced by mixture. 

To Lay Washes of the Three Primary Colors 

1. Moisten the three cakes of primary colors by dropping with the brush sev¬ 
eral drops of clear water on each cake. 

2. While this is soaking, prepare a sheet of 9x12" white drawing paper by se¬ 
curing it with pins or thumb tacks to a drawing board, or to stiff paste board. Hold 
the board at a slant, allowing it to rest against the desk or table at which you work. 

3. Fill your brush with yellow color, directly from the cake. Beginning at the 
upper left hand corner of your paper draw the brush across to the right, for a dis¬ 
tance of about four inches. Hold the brush at right angles to the paper as you 
work. Dip into the water and then into the cake, saturating the brush with color 
again, and make a second stroke, joining the first. Repeat the process until a 4-inch 
space has been filled with a clear, even wash. 

4. In the same way make washes of red and blue. 

5. On manila paper draw a rectangle, 1^x2}^ inches and cut out this shape. 
The opening is called a “finder.” 

6. On another piece of manila paper, draw with compasses, or trace from a 
round surface, a circle inches in diameter. Cut out this circle, making a round 
finder. 

7. Place these finders over your washes of yellow, red and blue, being sure 
that the washes are perfectly dry. Move them about until even portions of the 
washes are found. Draw lines around the openings and cut out the shapes. 

8. Upon a sheet of 9" x 12" white drawing paper draw a circle about 4^4" in 
diameter. Within this circle paste the small circles of yellow, red and blue, as 
shown on page 2. Add a marginal line. 

Note. In giving this work to primary children the finders would have to be 
prepared by the teacher; also the large circle enclosing the color circles would have 
to be drawn by the teacher, or traced by the children from a pattern prepared by 
the teacher. All the other work of the Chart, including the lettering, should be 
done by the children, after sufficient practice in laying the washes has been given. 




2 


Y ELLOW 



PRIMARY COLORS 




























3 

'*'~1 



Pictures of Cat-Tails: You can draw pictures of cat-tails with a brush or with 
cravon. Begin with the stem. Draw a firm, direct stroke, like Fig. 1. Then with 
darker color, draw with one stroke the left side of the head (Fig. 2). Then add the 
leaf beginning at the top (Fig. 3). Fig. 4 shows the picture made with brush and 
water color. Fig. 5 shows the picture drawn with crayon. 

















Willow. 


Shapes of Leaves: Bring leaves to school. Cut their shapes from cream manila 
paper. Cut shapes as large as the leaves. When you have cut six different shapes, 
choose the best one, and mount it on gray manila paper. Use paste only at the top and 
at the stem. Have you another shape that you would like to mount? Let us make 
a collection of leaf shapes. 










Fruits of the Garden: Here are some fine large vegetables. Can you tell their 
names? What is it that tells you what vegetables they are? You know that they are 
beautiful in color though you see hem here only in gray. 

From vegetables that some one will bring, paint and draw some pictures in color. 


i_ 






. . v** r '.^H&A****^ v:,. WrtKVSmitfUBtm 





















A Cat and a Kitten: If we give Pussy some milk to lap, she will stay quite still 
while we paint her picture. Use a gray wash and pamt first the shape of her head. 
Then paint the body tail, legs, and paws. Can you make fine lines for the whiskers. 

Draw with black crayon a kitten at play. Begin with the head. Notice in the 
picture on this page which way the strokes go. 
















Stick Laving and Skeleton Drawing: Watch a boy when he is standing. Watch 
him as he runs. Then lay sticks to show how he looks. Draw a picture of the sticks 
From a picture of an animal, lay sticks to show the shape. Draw the shape with 
black crayon on gray paper. 
















13 



BBSHC-— 


Drawing From the Figure: Ruth has brought a toy balloon to school What a 

s „ r h ”:i„So„^riT. h wm h ,s or " 














A Sled. 



A Drum, 



Pictures and Shapes of Toys: Bring your favorite toy to school. Your teacher 
will arrange toys for you to draw or paint. Some toys may be drawn with brush and 
ink; others with brush and color; others with colored crayon. 

A drum may be drawn on tinted paper with white chalk, red and black crayons. 
A tin horn may be drawn on white paper with gray wash. A sled may be cut and 
folded from red paper. 

Cut shapes of other toys that you remember. You can make a folder, or a book¬ 
let, and paste your toy shapes in it. 





































17 



Blackboard Drawing: You will enjoy making pictures of objects on the black¬ 
board. Choose a large object such as a watering-pot, a coffee-pot, a tea-kettle or a 
pail. Draw the shape of the largest part first. Then draw the handle, cover or spout, 
to finish the picture. Your drawing should show, truthfully, the height, width and 
shape of the object. 





\ 


0 






















9 









19 


FIRST STEPS IN LANDSCAPE PAINTING 

To the Teacher 

Landscape painting is the pleasant guise under which masquerade many exer¬ 
cises that might otherwise degenerate into drills. It is not for the sake of land¬ 
scape painting that we present to little children such exercises as appear on page 20. 
It is rather for the sake of the color knowledge gained through the handling of a 
wet color medium. Colored crayons are satisfactory drawing mediums; but the 
blending of colors, the mixing of two colors to produce a third, can best be taught 
by the use of water colors. In the gaining of this definite knowledge, it is neces¬ 
sary for children to understand how to moisten dry color cakes, how to handle the 
brush, how to spread washes and how to blend colors in three ways: (a) by mixing 
in the palette, (b) by blending in the brush and (c) by dropping one color upon an¬ 
other, on paper. This may all be accomplished by means of exercises included 
under the head of landscape washes. 

Materials for Work 

For this work each child should be supplied with a good three-color box; a No. 
7 brush; a shallow cup or pan for holding water; a sponge or soft cloth for clean¬ 
ing the box; manila or practice paper; and a stiff piece of cardboard or trunk-board, 
about 10" x 14" to serve as a drawing board, so that the work may be done upon 
a surface more slanting than the surface of the desk. 

To Lay a Water Wash 

Teach the handling of the brush in putting on a water wash, using 6" x 9" manila 
paper. Fill the brush with water and start at the upper left corner of the paper, 
working with the side of the brush and carrying the strokes across to the opposite 
corner. Take more water and repeat this horizontal stroke, working across and 
down the paper until the whole surface is evenly wet. 

To Lay a Sky Wash 

While the water wash is drying a little, moisten the blue cake of color with a few 
drops of water, and fill the brush with wet color. Transfer this to the moist paper, 
and with exactly the same movement used in applying the water wash, cover the en¬ 
tire surface of the paper with a wash of clear blue. This may be interpreted to the 
children as a picture of the clear blue sky. 

To Blend Yellow and Blue Color in the Brush 

Clean the brush thoroughly. Drop some clean water on the yellow cake. Fill 
the brush with yellow color; then dip it into the still wet cake of blue. The colors 
(yellow and blue) will blend in the brush. While the sky wash is still moist, place 
the “loaded” brush on the paper, a little above the middle. Carry the stroke of green 
across the paper, working across and down, as before. If the color is too yellow, 
add blue; if too blue, add yellow. Work to the bottom of the paper, adding more 
water to the cakes and more color to the brush, as necessary. 

Compare results with Fig. 1, on page 20. 

To Paint an Effect of Distance t f f . 

When the children have learned to spread a wash of clear blue for the sky and 
to paint a foreground of green, their next step should be the expression of distant 
trees or “distance.” The paper is covered with a water wash as before and the sky 
wash is added. This sky wash may now stop at or a little below the sky line. 
When this wash is almost dry fill the brush with strong blue color direct from the 
cake adding a little yellow, to obtain a blend of dark blue-green. With a vertical 
movement of the brush paint in the tree masses. Then add the foreground with 
horizontal strokes, using more yellow with the blue, to obtain a lighter effect. Com¬ 
pare the result with Fig. 2, page 20. 



m si m t m 



>r*t ..«.> ■ ■» *'■> . ’ ***?~**~**-«'** it . . . * WMmyam iH r. 





'• 


2 . 


THE BLUE SKY AND THE GREEN FIELD 





















































BY 8PECIAL PERMISSION METROPOLITAN MUSEUM NEW YORK REPRODUCED DIRECT PROM ORIGINAL BY COLOR PHOTOGRAPHY 


THE TWO SISTERS 


KOUGUEREAU 




22 


PICTURE STUDY: THE TWO SISTERS 
By William Adolphe Bouguereau 

In Other Lands 

Far away and across the sea from America are other countries, where people 
live and work and where children laugh and play and go to school, just as you do 
here. It may be that your fathers and mothers have come from those countries, 
or that they have traveled in them. If this is so, they have probably told you many 
stories of what they saw. The people, perhaps, spoke a different language from 
ours, and wore clothes that are not at all like the clothes that we wear. In one 
„ country, far up in the cold North where it is winter all the year round, the clothes 
of the people are made of the skins of animals. The people have no sheep to give 
them wool, no cotton-fields in which to grow cotton, and no mills or factories to 
make cloth. Have you seen pictures of people dressed all in fur, and do you know 
what these people are called? 

Brittany Peasants 

There is another country, not so far away, where the seasons are much like 
ours. In summer time the sun is warm and bright, and the people who live in 
the country can go without shoes, if they like. This beautiful country is called 
France. Different parts of France have special names, just as different parts of 
America are called Canada, or Mexico, or different states are called Minnesota or 
Massachusetts. One of the parts of France is known as Brittany, and it is in Brit¬ 
tany that the two sisters lived whose picture you see on page 21. In France the 
people who live on farms in the country are called peasants. If you hear people 
talking about Brittany peasants, you will know that they mean farmers and their 
families, who live in a certain part of France. 

The Two Sisters 

The ‘‘big sister” in the picture is about sixteen years old. She wears a white 
cap or bonnet, like other girls of her age in Brittany. Her white waist, black bodice 
and red skirt look neat and trim, and she is wearing a striped apron, to keep her 
dress clean. You can see that it is summer time because the grass is soft and 
green, and the trees throw cool shadows across the sunny places in the woods. 
Would you not like to go barefoot in such a pleasant spot as this? Perhaps the 
little girl is tired from her long walk, for she seems glad to cuddle close in her 
sister’s arms. She has an apple, which we feel sure she will eat, very soon, and she 
wears a gay little red cap and a blue dress, with sleeves of a different color. The 
older girl folds her arms around her chubby little sister, and locks her fingers tight, 
as though she were holding something very precious. How happy and contented 
both of the sisters look! 

The Artist 

The artist who painted this picture lived in France, also, and was much be¬ 
loved and honored in that country. His name was William Adolphe Bouguereau 
(pronounced bo-gro). He was born in 1825 and died in 1905. 






PORTRAIT OF MISS BOWLES. 

Sir Joshua Reynolds. 

Picture Study: There was once a man who could paint pictures of people so well 
that he became famous. His name was Sir Joshua Reynolds, and he was an English¬ 
man who lived more than a hundred years ago. He must have been very fond of chil¬ 
dren, for his pictures of them are so fine that he is often called “The Children’s Por¬ 
trait Painter”. He painted children of all ages, and his pictures show them at play 
with their pets, in the woodlands and parks, or at home with their parents. 

The picture of this page is called the “Portrait of Miss Bowles”. It tells us that 
children of that day were just like the children that we know now. They loved their 
pets, just as you do, and probably were anxious for them to “have their pictures 
taken”. We can imagine little Miss Bowles hugging her puppy while the kind Sir 
Joshua worked at her portrait. How pleased the little girl must have been to find that 
the artist had painted the puppy’s picture,, too! 

Look at the picture closely and see how much it tells about the little girl who liv¬ 
ed so long ago. 







2 



6 M x2" Heavy white Paper Folded on Short Diameter 



A Christmas Place Card: At Christmas dinner we like to have a card at our place, f 
The pictures on this page tell you how to make a card that will hold a candle or a j 
sprig of holly. Take a piece of heavy white paper that is six inches long and two in¬ 
ches wide. Fold it in the middle, like Fig. 2. Cut two slits in the fold, near the mid¬ 
dle, (Fig. 3). The part you have cut makes a holder for a Christmas candle. You can 
make a card for everyone at home. 











































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A Christmas Bon-Bon Box: Bright red paper and a sprig of holly or other ber¬ 
ries are needed for this box. The pictures tell you how to cut and fold the pattern. 
Slip one side under the other, and paste to make a three-cornered box. Two slits, 
about a quarter-inch apart, cut across one corner make a fine holder for the twig. 

Make a box for every one at the Christmas dinner table. 





































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A Christmas Folder: A folder for a Christmas card may be made of gray squared 
paper. A piece five inches long and four inches high is a good size. Fold the short 
edges together. Open the fold. Fold each short edges together. Open the fold. Fold 
each short edge to meet the middle crease. On the little “doors” of the folder draw 
with colored crayon a Christmas symbol. Write a Christmas greeting on a card and 
place it in your folder. To whom will you send it? 



















































































































32 



2 

Paper Cutting of Landscape Shapes: Here are two pictures of gray paper. One 
is lighter than the other. Fold and tear both pieces into equal parts. From the dark¬ 
er gray cut a shape that will look like the dark shape in Fig. 1. Paste this at the bot¬ 
tom of one shape of the light gray paper. The light part now looks like the sky and 
the dark part looks like the ground. In the lower picture what has happened to the 
sky? In this picture is it day or night? From the two pieces you have left make a 
picture of night with the round moon shining in the sky. 















34 



Trees in the Landscape: With colored papers we can make pictures of out-of- 
doors. We shall need blue paper for the sky, dark blue or green paper for the distant 
hills, green paper for the grass and darker green paper for the trees. 

The trees that are near to us, out-of-doors, look larger than those that are far 
away. Let us cut large trees and small trees from paper. We will paste the parts of 
our picture together. First, cut and paste a shape for the sky. Next cut and paste 
a shape for the distant hills, then the grass and last of all the trees. Put two trees 
in your picture. Cut and paste the shape of a dog, a cow or a rabbit and paste it under 
the trees. 


























































36 

r~ 



Pictures of Tree Flowers: In the bright days of February or early March, before 
spring has really come, place some branches of common trees or shrubs in water and 
keep them near a sunny window in the house. Every day will show some change in 
their shape and size. 

Pictures of tree-flowers may be drawn either with crayon or with brush. Draw 
light lines, first, to show the size of your twig, and its growth. Then draw or paint 
the buds, the stem and the blossoms. Work from the top down. Try to show just 
how. the buds and blossoms grow. 





















A May Basket: To make this pretty May basket cut five strips of gray paper 
one inch wide and eight inches long. Cut five strips of white paper one inch wide and 
eight inches long. Arrange the strips to look like Fig. 1. Be sure they lie flat on your 
desk. Fasten the five upper ends of the white strips with a brass fastener. Fasten 
the five lower ends of the white strips in the same way. Fasten the right and left ends 
of the gray paper. Your work will then look like Fig. 2. Add strips of paper for the 
handles. You can fill your May basket with wild flowers. 




























) ** , * wl **##fl^* , * fll **®®^ > ww. ^ £**gy* 
































40 


FLOWER STUDIES IN WATER COLOR 

To the Teacher 

At no time in the year is the interest in nature and in plant life stronger than 
it is in early spring. The children watch for signs of life in the willow and poplar 
branches, and welcome the appearance of the first downy buds with as much eager¬ 
ness and delight as though the season was not annually recurrent, but was unfold¬ 
ing its wonders for the first and only time. 

The flower shown on page 39 is known as the pasque flower, in some parts of 
our country, as an anemone in other parts, and as a crocus, in others. The children’s 
name for the flower is “goslings,” named from the fuzzy exterior of the bud, which 
is gray-green in color, and difficult to detect among the dry grasses and dead leaves 
of late winter or early spring. 

It is the first flower to appear, in many regions, and for this reason the child¬ 
ren’s interest in it is very great. It is, therefore, a good subject for a painting les¬ 
son, although better results would be obtained from a flower of gorgeous coloring, 
such as the tulip. 

Arrangement of Studies 

In drawing from flowers or plant forms, specimens should be placed so that 
each pupil can see one plainly. Boards may be placed across the front desks of 
alternate aisles, upon which vases, bottles or tumblers may be put, to hold flowers. 
A cardboard background should be placed behind each study. 

Methods of Work 

The success of flower painting depends upon a direct, loose handling of the color. 
The outline of the flower should not be drawn first with a pencil or other medium. 
Long lines of growth may be indicated with a brush line of light tint. This is an 
aid to good placing. The flower shapes are then painted in a light wash of the 
local color of each blossom. In the case of the study on page 39, a little blue 
was transferred from the cake to the box lid; then a little red was added. The 
water carried one color into the other, making the violet tone. The colors were not 
stirred or mixed with the brush. Then the petals were painted with this light 
violet wash. Before this was dry, more blue was dropped in, to make the darker 
tones. More red was added to the paper where necessary. When the petal shapes 
were nearly dry, the yellow center was added, directly from the moistened cake. 
The leaves and stems were painted freely with yellow-green. This color was 
blended in the brush, by taking a little blue in the brush, and then dipping it into 
the moistened yellow cake. 

Mounting Flower Studies 

The tasteful trimming and mounting of flower studies adds greatly to the ef¬ 
fect. The dominant color of the flower, much grayed, should be selected as a 
mount. If such selection is not possible, a neutral gray tone is always good. 




SUGGESTIONS TO TEACHERS 

(Continued from Page 2, of cover.) 

Object Drawing 

. P a g es 1° and 17. Ihe objects that children are most vitally interested in are 
their Playthings and toys. For this reason, the sled, drum and horn are given on 
page 15. Other toys may, of course, be selected. In every case the toy itself should 
e placed before the children, as the lesson directs. The wise teacher will present 
t iis work immediately before or after Christmas, for obvious reasons. Probably 
colored and black crayons will be the most attractive mediums to use, although 
paper cutting of the shapes of toys is too valuable and interesting an exercise to 
be omitted. On page 17, a blackboard exercise is suggested. Large, familiar ob¬ 
jects, drawn in the simplest kind of outlines, are best for this work. Here again 
the presence of an object not in the book, will lend interest. The children should 
discuss the book illustrations, but should draw from observation or memorv of the 
actual object. • 

Design and Construction 

Pages 26, 28, 30 and 38. The Christmas place card and bon-bon box should of 
course be given just before the holiday. The text on the pages, together with the 
illustrations, give full directions. The provision of worthy materials is essential. 
Flimsy paper should not be used for the bon-bon box, even if it is red. For all con¬ 
struction work, use paper that is heavy enough to keep its shape when folded into 
the required article. On page 30, the Christmas symbols may be cut from paper, 
or drawn with colored crayons. The little folder containing the card and greet¬ 
ings of the sender might accompany a Christmas gift. The verv attractive May 
basket on page 38 should be made in the season of the first spring flowers. 

Picture Study 

Pages 21 and 24. Every primary teacher will welcome the presence of these 
two beautiful reproductions of masterpieces, one in color, and the other, hardly 
less beautiful, in black and white. The effort has been made in these books to pre¬ 
sent really fine things, as material for picture study,—not the mere story-telling 
subjects that are so frequently seen in primary readers and language books* These 
have their uses, no doubt, but they have little to do with the child’s training in art. 
Through the subjects presented in these books, the child will become familiar 
with some of the best things in the best galleries of the world, and will, it is hoped, 
have some idea as to why such pictures are considered fine. An interpretation 
of the masterpiece in this book will be found on pages 22 and 24. 

Color Theory 

Pages 1 and 2. A first step in the development of a most important phase of 
art education is taken in these pages. The necessity of a definite course of instruc¬ 
tion in color study has been felt for some time. No other part of art instruction 
has so direct an influence on good taste. To be able to appreciate intelligently 
good color combinations is as cultural as to understand good music, and has a more 
practical application, for color affects our clothes, our house-furnishings and 
schoolrooms, in a tangible way. The effect of music may be just as important but 
it is not so easily discerned. The reasons for teaching a definite color theory are 
too many to be discussed here, but the work laid out on pages 1 and 2 of all the 
books of this series will prove to be a most important feature of the art training of 
school children. Full instructions as to the making of the first Color Chart are 
given on page 1. 






THE-GRAPHIC 
DRAWING-BOOKS 

BOOK-TWO 



THE-PRANG-COM PAN Y 

NEW YORK * CHICAGO " BOSTON r ATLANTA " DALLAS 











SUGGESTIONS TO TEACHERS 

General Plan 

In Book Two of the Graphic Drawing Books the subject of art is developed 
under the following head: nature, landscape, figure and animal, design and con¬ 
struction, objects, picture-study through masterpieces, and theory of color. The ex¬ 
cises in this book are so classified that they may be presented as they appear, or 
they may be changed about and adapted to any course of study. The illustrations 
in the book are given as suggestions of the kjnd of material that should be pro¬ 
vided for the lesson, but they should never be allowed to take the place of the actual 
specimens of plant or animal life, or of the real objects. The illustrations also 
serve as examples of technique; that is they are rendered in a manner that is pos¬ 
sible for children to follow. They should seldom, if ever, serve as copies for chil¬ 
dren of this grade. 

Nature Drawing 

Pages 3, 5, 7, 9 and 36. In all cases where the plant represented on the page 
is not available, choose a specimen of similar growth. Any other grain might do 
as well as the wheat-heads shown on page 3, provided that the teacher under¬ 
stands the reason for presenting such material. It is for practice of long, swinging 
strokes of the crayon, and for practice in making long, slender leaves with one 
stroke of the brush. Any other leaves may be substituted for the poplar and 
maple leaves shown on page 5, but the method of painting illustrated there should 
be used for all leaves. For the work on page 7, the teacher should see that a suf¬ 
ficient number of fruits or vegetables are provided, so that each child can see one 
plainly. The drawing or painting of such subjects should precede the paper cut¬ 
ting of their shapes, suggested in the lesson on page 9. The dafifodils on page 36 
should be painted or drawn in their natural colors, from fresh, beautiful speci¬ 
mens. Any other bright spring flower may be used instead. 

Landscape Effects 

Pages 13, 15, 17 and 20. Although the tree study on page 13 might be classi¬ 
fied with plant drawing, trees are so important an element in landscapes that this 
exercise and the next are grouped under that head. The teacher should sketch on 
the blackboard a large drawing of a pine or other evergreen tree. The sketches 
and the text on page 13 give the processes. On page 15 is suggested a blackboard 
sketch,—making use of the pine tree and some interesting animal. Processes in 
painting landscapes in gray washes are shown on page 17. In the absence of water 
colors, diluted ink may be used, with a brush. On page 19 are given full instruc¬ 
tions for working out studies similar to those shown on page 20. Give landscape 
lessons in season. You will get better results in winter landscapes just after the 
first heavy fall of snow. 

Figure and Animal Drawing 

Pages 26 and 28. The little figure on page 26 suggests the kind of pose that 
should be presented. A hood, bonnet, or large hat is cleverly employed to hide the 
features, in elementary pose drawing. Some little suggestion of an occupation 
should also be indicated by the pose. A little girl dressed in white is a good subject 
for a blackboard sketch, or for a drawing to be done with white chalk on dark gray 
paper. Chickens or other fowls (page 28) may be drawn from the window at home, 
or from memory. It is often possible for a live bird of some kind to be brought 
into the schoolroom. With such inspiration, a fine lesson is inevitable. 

(Continued on Page 3, of cover.) 


0 





THE 

GRAPHIC 

DRAWING-BOOKS 

A. SERIES OF GRADED DRAWING BOOKS 
PRESENTING GRAPHICALLY, BY MEANS 
OF PROGRESSIVE STEPS, A COURSE IN COLOR, 
DRAWING, DESIGN, CONSTRUCTION AND 



THE PRANG COMPANY 













SUGGESTIONS FOR PROTECTING THE COLOR CHART 

The Color Charts in this series of Drawing Books are painted by hand,—the 
work of an expert colorist. It is impossible to reproduce by any known process of 
printing the exquisite color quality and velvety bloom of these Charts. It will be 
readily seen that such delicately adjusted colors will not stand, without injury, the 
usual wear of a school text book. For this reason, the following suggestions are 
given for their protection : 

1. Mount the Chart for this book on a piece of cardboard a little larger 
than the size of the Chart page. A little paste applied to each of the four 
corners is all that is necessary. Make a cover for the Chart by cutting con¬ 
struction paper, of a grayed tone, one inch longer than the longest measure¬ 
ment of the cardboard. Paste this extra inch to the back of the top of the 
cardboard. Fold over to make a hinge. This can be done in primary grades. 

2. Follow the steps given above, adding an easel support to the Chart, 
by pasting a strip of cardboard about 2" x 6" to the back, as a brace. Score 
the strip about an inch from the top, to make the hinge. Paste the inch 
space to the back of the Chart. This device will hold the Chart in an upright 
position, when it is so desired. 

3. Make a passe-partout case for the Chart. Cut a piece of cardboard 
y* larger on all sides than the Chart. From a sheet of transparent celluloid, 
cut a piece the size of the cardboard. Fit the cardboard and the celluloid to¬ 
gether and paste passe-partout binding on three edges,—two long and one 
short edge. This makes an open case, into which the Chart may be slipped. 
An easel back may be added, if desired. When protected in this way by the 
transparent cover, the Chart may be used in class-room work without being 
removed from the case. 


Pages 1 and 2 of this book consist of a detached Color Chart which should accompany each book. 
Copyright , 1914 , By The Prang Company. All Rights Reserved. 

FEB -7 1914 

©CI.A86JL914 





1 


A PRACTICAL COLOR THEORY 
Color Chart No. 2 

To the Teacher 

The Color Charts in this series of books present a color theory which will be 
found of the greatest assistance in establishing color standards and color harmonies. 
The charts may be duplicated, in whole or in part, by the pupils, or they may sim¬ 
ply serve as standards of technical color, to which the various exercises in design 
and color may be referred. The making of a Chart, after the model on page 2, may 
be easily accomplished by pupils completing the second year of school. Pupils should 
review the laying of flat washes of the primary colors (yellow, red and blue) and 
in addition should be taught to produce the binary colors. 

Binary Colors 

The union of any two primary colors produces a new color, called a binary 
color. That is, the union of yellow and red produces the binary orange; the union 
of yellow and blue produces the binary green; the union of red and blue produces 
the binary violet. Orange, green and violet are known as binary, or secondary 
colors. 

The teacher should herself prepare a Chart, following the directions given be 

low. 

To Lay Washes of the Three Binary Colors 

1. Orange 

(a) Moisten the three cakes of primary colors. 

(b) To one of the compartments of the lid of your color box, transfer with 
the biush about a teaspoonful of strong yellow color. 

(c) To this color, and without washing your brush, gradually add from the 
red cake enough color to produce a bright orange, in tone and strength 
to match the orange circle in the Color Chart. 

(d) Fill your brush with this mixture and lay a wash of orange on white 
drawing paper, following the process described in laying the washes 
of primary color. Cover a space about four inches square with a wash 
of clear orange. 

2. Green 

(a) Clean the brush thoroughly, after washing away any traces of red on 
the yellow cake. Wipe away all traces of orange from the lid of your 
box, so that everything about your color box is clean and pure. 

(b) Transfer to the lid a small teaspoonful of strong yellow color. 

(c) To this color, and without washing your brush, gradually add from the 
blue cake enough color to produce a bright green, matching the green 
of the Color Chart. 

(d) Fill your brush with this mixture and proceed as before, laying a wash 
about four inches square. 

3. Violet 

(a) Thoroughly clean the lid of your box. Wash all traces of yellow from 
both the red and the blue cakes. Wash your brush. 

(b) To a small teaspoonful of strong red color, gradually add enough blue 
to make violet, matching the violet in the Color Chart. 

(c) Lay a wash of violet, covering a space about four inches square. 

(d) Prepare “finders” as described on page 1, Book One. When the washes 
are perfectly dry, draw lines around the openings of the finders and cut 
out the rectangles and circles of color. 

(e) On a sheet of 9"xl2" white drawing paper mount these three rectangles 
and the six circles of the Color Chart after the arrangement shown on 
page 2, allowing adequate margins. 




2 


YELLOW 



B I NARY COLORS 

V 

























1 




Wheat Heads Drawn and Painted: Choose gray paper and black crayon, and 
draw from wheat-heads placed before you. . . 

Draw first the long, straight stem (Fig. 1). Then draw the little husks, begin- ‘ 

ning at the upper one. Use two short strokes for each husk (Fig. 2). Add the leaf f 

with long, broad strokes (Fig. 3). With a sharp edge of your crayon draw tiny lines 
for the beard (Fig. 4). Fig. 5 shows a drawing made with a brush. 


















5 



How to Paint Leaves: First paint the shape of the leaf with a yellow wash (Fig. 
1) Before this is dry drop in another color (Fig. 2). If your leaf shows yellow and 
red drop red in the yellow shape. If it shows green drop blue in the yellow shape. 
Some autumn leaves show yellow, red and green in the same leaf. Try to make the 
colors you see. Add the stem last (Fig. 3). 
























7 



Fruits, Painted and Drawn: The pear has a beautiful oval shape. You can draw 
it with black crayon. First, draw the outline very lightly. Then begin at the top and j 

draw short strokes, following the direction of the outline. With your soft crayon you 
can join one stroke to the other, as you work toward the base. A pear, as it is placed 
before you, will look lighter on one side than it does on the other. Show this by 
making darker strokes. Draw the stem last. . . 

A bright red apple is beautiful to paint. First paint the shape in yellow. Before 
this is dry, drop in red, as you did in painting leaves. In the picture, the light part 
stands for yellow and the dark part for red. Paint the stem with yellow, red and 
blue, mixed to make the right color. 

7 9 

\ 




















Shapes of Vegetables Cut From Paper: You have cut shapes of many different 
things; shapes of flowers, shapes of leaves, shapes of animals. By the truthful shape 
of an object we can tell what it is, even without color. Every child knows that Fig. 
1 is the shape of a pear, and that Fig. 2 is the shape of an apple. Can you cut shapes 
of other vegetables as well? 

From vegetables placed where you can see them, cut shapes in “life” size, from 
cream manila paper. Then cut the same shapes from smaller pieces of paper. Try 
to make the little shapes just as truthful as the large shapes. Mount your best shapes 
on gray paper. 





mas' 




















Borders Made From Fruit Shapes: Fold a 2 inch square of paper into four small 
squares (Fig. 1). From this four fold square cut the shape of a fruit (Fig. 2). You 
now have four separate shapes, just alike. You can arrange these four shapes to form 
a border on a booklet. Use a little paste to fasten them in place. Add marginal 
lines with black crayon. 

















































13 



A Pine Tree Drawn with Crayon: White paper will be best for the picture of the 
pine tree. The top is pointed like a cone. Draw this first, with two or three strokes 
(Fig. 1). Then add longer strokes, to show the branches. Draw the needles with short 
strokes. We can show the main trunk in the center by making strong, black, vertical 
lines (Fig. 4). How beautiful a pine tree is! Fig. 5 shows one as it grows in the 
ground. 
















15 





A Forest of Pine Trees: When you have learned to draw one pine tree, it will be 
easy to draw a whole forest of pine trees. You can use black crayon on manila paper, 
or you can draw with white chalk upon the blackboard. The picture shows a black- j 
board drawing. The far-off trees are drawn much smaller than the trees near us, be¬ 
cause that is the way they look, out-of-doors. The shape of a hill is drawn in outline, 
and old Bruin seems to be coming down a roadway or path. 

Draw a grove of pine trees. Draw a squirrel at the foot of a tree. 

!* 





















17 


f 



A Landscape in Gray Water Color: First make a gray wash by adding water to 
vr>nr cake of black paint. A very little black paint added to several brushfuls of water 
will make a light gray wash. Paint the sky with this (Fig. 1). Add more black paint 
to the gray wash and paint the foreground (Fig. 2) If your picture is to show distant 
trees or bushes wait till the sky is nearly dry and then paint the shapes of the trees 
with dark gray, over the sky wash (Fig. 3). Then paint the foreground, lighter than 
the trees, but darker than the sky (Fig. 4). 

































19 


LANDSCAPES IN TWO MEDIUMS 

To the Teacher 

Two mediums have been used in representing the simple landscape composi¬ 
tions on page 20. The “Summer Day” landscape (Fig. 1) is rendered in water col¬ 
ors, and involves but one new feature—the making of clouds—that was not em¬ 
bodied in the landscape work presented in Book One. Water color is the best 
medium for pictorial or realistic landscape effects. The sunset effect drawn with 
colored crayons (Fig. 2) is decorative rather than realistic and fills a different place. 

To Paint Cloud Effects with Water Color 

Cover the white paper selected for the sketch with a water wash, as described 
on page 19, Book One. While this is still wet, drop in blue, on the upper portion 
of the space. The brush should guide the disposition of the drops of blue color, so 
that the desired shapes of clouds may be left, by leaving the white paper uncovered. 
Study the effect in Fig. 1, page 20. To complete the picture, paint in the distance 
and add the foreground, as directed on page 19, Book One. 

A Winter Sunset 

For the sunset effect shown in Fig. 2, page 20, tinted paper of a gray-orange 
tone was selected as a background. The sky was first treated with strokes of white 
chalk, laid on so that the brownish paper showed through. Then orange crayon 
was used in the same way. (In using crayons, do not try to cover or hide the back¬ 
ground, as in painting; lay the strokes so that some of the background shimmers 
through.”) The treatment of the foreground was the next step. In Fig. 2, the 
direction of the long, loose swinging strokes of chalk may be plainly seen. The dis¬ 
tant trees were put in last of all. Vertical strokes of violet and of black crayon were 
used to give an effect of distant trees against a sunset sky. 

Mounting the Sketches 

Sketches done in water color or with colored crayon should be neatly trimmed 
and mounted, when they are finished. The water color sketch shown in Fig. 1 was 
mounted on a neutral gray paper. The crayon sketch was made within a sharply 
marked enclosure, and was afterward trimmed, allowing a quarter-inch of the gray- 
orange background to extend outside of the rectangle. 

Applying a Crayon Sketch to a Decorative Use 

Sketches such as the sunset effect shown in Fig. 2 on page 20 are more appro¬ 
priate for the decoration of calendars, book covers, valentines, etc., than water color 
sketches which are realistic in effect. The color tones in crayon sketches are more 
nearly flat, and hence are more conventional. Again, a colored crayon sketch may 
be made in any color scheme that will be harmonious with cover paper, cloth or 
other material used in constructive exercises. The teacher should at all times dis¬ 
courage the use of realistic landscapes, flowers, etc., as decorations. “Decorative” 
means the opposite of “realistic. 





2 

TWO WAYS OF RENDERING LANDSCAPE EFFECTS 






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22 


PICTURE STUDY: “FAIRY TALES” 

By James J. Shannon 

Once there were two little girls who lived in a beautiful house, and who had 
everything in the world that children could possibly need. They had nice things 
to eat and pretty clothes to wear and dolls and play-houses and toys of every de¬ 
scription. Their home was in the country and there was a yard around the house 
so big that it was almost like a park. The children could play under the trees or 
wade in the little brook that ran near the house, or spread their luncheon in a little 
summer-house that was built close beside the brook. 

Sometimes their mother took them on the steam-cars to the city and they had 
great fun looking at all the things in the shops, and watching the people in the 
crowded streets. Often, on pleasant days, they would ride for miles and miles 
through the country in their father’s big automobile. 

But there was one thing they liked to do best of all, and that was to cuddle up 
on the blue couch in their mother’s room, and listen to stories. This they liked to 
do best in the late afternoon, when Mother had a little time before dinner, and 
when the children were through with their lessons, and were tired of out-door play. 
Sometimes Mother’s stories would begin,—“When 1 was a little girl”—and this 
pleased the children, always. And sometimes when she said she couldn’t think of 
any more stories about anything, she would tell the older little girl to go to the ' 
children’s book-case in the library and pick out a story book. The older little girl 
always came back with the self-same book—a book of Fairy Tales. 

Then Mother would open the book and ask the older little girl which story 
she would like. The older little girl would say “Read about little Snow White and 
the Seven Dwarfs!” and she would sit close to her mother and rest her chin upon 
her hand and never stir until the story was finished. It seemed to her that she 
could imagine all the wonderful things that happened to Little Snow White. She 
even thought she could hear the fairies, sometimes, when she wakened in the night. 
And she saw no reason why the dwarfs should not still be living underground, or in 
the big hollow tree at the foot of the hill. 

Then the younger little girl would choose a story. She always wanted to hear 
about Jack and the Bean-Stalk, and she would say to herself: 

“Hitchit my hatchet 
My little red jacket 
And up I go!” 

when her mother came to that part of the story. When the reading was over she 
would clasp her mother’s hand and say, “Now read it again!” 

If you will look at the picture on page 20 you will see the little girls and their 
mother, just at the hour when these Fairy Tales are being read. Mother has soft 
dark hair coiled in a knot, low on her head, and she wears a wide lace collar over 
her dress. She is sitting in a white rocking-chair, drawn close to the couch where 
the little girls are listening to the story. A blue curtain is hung behind the couch, 
perhaps in front of a window. The bright eyes of the younger little girl are look¬ 
ing straight out of the picture, as though she were seeing, in imagination, the won¬ 
derful house of the big giant, which Jack found at the top of the magic bean¬ 
stalk ! 

The artist who painted this lovely picture is an American named James J. Shan¬ 
non. Is it not wonderful how much he could tell us about these little girls, their 
mother, and their great delight in Fairy Tales? 






24 



A 

poem. 





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for the 


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Beautiful Illustration: Your teacher will read you the other verses of this j 
Learn all four verses by heart. Cut paper pictures that will tell the story. § 




































26 



A Blackboard Sketch: Florence has brought her little broom to school. She tells 
us that she can sweep the sidewalk and the steps in front of her house. Put on your 
hood and mittens, Florence, and show us how you do it. Hold your broom with both 
hands, and sweep clean. We will draw your picture on the blackboard. 































Two Fine Fowls: If you can draw from a real, live rooster, it will be much better 
than drawing from a picture. Begin at the head. Draw or paint this part very care¬ 
fully. Then draw the shape of the body and tail. Add the feet last. The rooster on 
this page was painted in gray washes. The turkey was drawn with black crayon. 




















30 



Modelling Toys From Clay: How can we tell that these are pictures of toys and 
not of live dogs? Let us model some clay forms that will look like our toy animals. 
We can bring dogs, horses, goats, sheep and cows made of wood, tin and cloth. We 
must model quickly while the clay is soft. When it hardens we cannot use it. 


Modelled 
From The 























The Weaving of a Paper Mat: The pictures on this page tell the story of the 
paper mat. Use an eight-inch square of colored paper for the body of the mat (Fig. 

1) . Rule lines one inch from each edge, making an inner square. Set off inch spaces 
on the upper and lower sides of this square. Rule lines connecting these dots. Fig. 

2) . Fold the mat and cut the slits, as showm in Fig. 3. Use inch strips of gray squared 
paper for the weavers. (Fig. 4). Weave the strips in and out, to form the mat, (Figs. 
5 and 6). On the gray squares, draw with colored crayon a very simple design (Fig. 
7). 

You can fold your woven mat to make the cover for a box. An eight-inch square 
of paper may be folded to make the bottom. If you add a handle to the cover, you will 
have a basket. The pictures on page 34 will show you how. 















































































































































































































































































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Daffodils: Have you seen the beautiful flower whose picture is shown on this 
page? It is called the daffodil. Its yellow blossom looks like a golden trumpet. To 
paint it in its own colors, moisten the cake of yellow paint, and take a brushful of 
strong yellow. Paint the shape of the inside of the trumpet, like Fig. 1. Then add 
more water to this color and paint the shape of the outside of the trumpet, and the yel¬ 
low bracts at its base. Add a tiny bit of blue to yellow and paint the leaves. The 
stem may show a touch of red. Try to make the color match the stem in the flower 
before you, and paint it with one firm stroke of the brush. 


















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Brush and Crayon Practice: Did you ever beat time and sing? The brush and 
crayon exercises on this page may be drawn as you sing, making the strokes keep 
time to music. Try the crayon practice first. Use gray squared paper, and draw a 
group of lines, like Figs. 1, 2 or 3. Sing “Lightly Row” as you draw, marking the 
time with even strokes. 

With your brush, make strokes to music, using one color and gray paper. 






















































































































































a a a a a a 

■-■•a-B'C-a 

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a-a-a-a-a-a 

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BINARY COLORS 




























40 


BINARY COLORS IN OBJECTS AND IN DESIGN 

To the Teacher 

The exercises illustrated on page 39 bear a direct relation to the Color Chart 
on page 2. They are intended to emphasize and fix the idea of binary colors. If 
water colors are used in carrying out these and similar exercises, the children will 
gain in color knowledge, for the reason that with the three-color box they must mix 
yellow and blue to make green, yellow and red to make orange, and red and blue to 
make violet. In using colored crayons, the medium presents the colors already 
mixed in the orange, green and violet crayons. While this medium may be consid¬ 
ered more convenient, it is necessarily of less educational value. 

Toys in Binary Colors 

The two upper illustrations on page 39 show the ball and the top in binary 
colors. As this page is planned primarily to teach certain definite points in the 
development of the color theory, it would be entirely proper for the children to draw 
the forms of these toys from the objects themselves, and then to apply any colors 
dictated by the teacher. This puts the exercise into the realm of design, exactly 
as we use plant forms in design, later on. The ball and the top were chosen be¬ 
cause they present no perspective difficulties, because they are interesting objects in 
the children’s eyes, and because a rather startling color scheme, in the shape of two 
binary colors, can be used without offending our ideas of realism. The outline 
should be drawn with black crayon, and should be passed upon by the teacher 
before the color tones are applied. Permission to apply color may be used as a 
reward of merit, for careful drawing. In conducting lessons of this technical na¬ 
ture, use the technical color terms that belong to this kind of color study. 

Stick Printing With Binary Colors 

If the children are provided with the stick printing outfit which supplies color 
pads of the primary colors and an assortment of sticks for printing geometric shapes, 
many interesting exercises may be developed. The binary colors can be made to 
blend in the soft wood of the sticks, just as they blend in the brush, in water color 
practice. If, for instance, a stick be pressed first in the clear pad (which is to be 
saturated with alcohol) then in the blue pad, next in the yellow pad, and finally on 
paper, the result will be an impression of green. Orange impressions may be pro¬ 
duced by mixing yellow and red, in the same way; and violet may be printed by 
a blending in the stick of red and blue. 

Diagrams for Stick Printed Designs 

Geometric diagrams for the surface patterns shown in Figs. 3 and 4, page 39, 
were first ruled on the paper. A diagram of half-inch square's was lightly ruled 
for Fig. 1, by setting off half-inch spaces on all edges of the paper, and ruling 
light connecting lines. The small green square was printed at every corner of every 
square, in the manner described above. The tiny oblongs between the squares 
were printed with a stick having that shape at its ends. In Fig. 2, a diagram of 
oblongs was made by setting off half-inch squares on the top and bottom edges of 
the paper, and three-quarter inch spaces on the right and left edges. Light con¬ 
necting lines were ruled. Every other oblong thus made was used for the simple 
unit of four circles, printed with a stick having this shape at its ends. 





SUGGESTIONS TO TEACHERS 

(Continued from Page 2, of cover.) 

Object Drawing 

Pages 30 and 39. The toy dog on page 30, or a similar subject, may be mod¬ 
elled in clay, drawn with white chalk and one color on a dark paper, or used as 
a model for paper-cutting. The study of proportion is the main idea of the lesson. 
On page 39 are two toys to be painted or drawn with colored crayons, as ex¬ 
plained on page 40. Give work from objects of this nature immediately before or 
after Christmas. 

Design and Composition 

Pages 11, 32, 34, 38 and 39. The lesson on page 11 should follow the study 
of fruits and vegetables, given on preceding pages. A book to hold drawings and 
paintings of autumn subjects might be made as a final exercise for this class of work, 
and the cover might be decorated as illustrated. A neutral gray paper should be 
used for the cover. The decorative units might then be cut from the bright color 
suggest^ by the natural forms. As, orange for pumpkins, red for apples, violet 
for plums, etc. If these colored papers are not available, children can spread flat 
washes of the primaries and binaries, and cut the shapes from these. Pages 32 
and 34 explain themselves. The box and basket (page 34) are appropriate for use 
on a Christmas tree, as holders for popcorn and candy. The brush and pencil ex¬ 
ercises given on page 38 make good “busy work” exercises. They may be worked 
out in one or two colors, on gray paper, using water color or colored crayon, as 
the teacher selects. The stick-printing exercises on page 39 are fully explained on 
page 40. 

Picture Study Through Masterpieces 

Pages 21 and 24. “Fairy Tales” and “Wynken, Blynken and Nod” suggest the 
kind of pictures that children of this grade should be given to study. They are 
not only fine artistically, but their content or thought will make instant appeal. 
If the teacher wishes to go further with this work, she might help the pupils to 
make a collection of penny prints of fine pictures whose subjects would interest 
children. These pictures might be u^ed as a basis for language lessons, and could 
be tastefully mounted on gray paper and placed in a paper portfolio or envelope 
made by the children for this purpose. The illustration on page 24 is by George 
Koch. The whole of Eugene Field’s charming poem should be memorized by the 
children. The illustration is almost simple enough in treatment to have been cut 
from paper. As an “occupation” exercise, the children might try to cut the shapes 
of the boat and sail, the distant trees and the moon. These shapes could be as¬ 
sembled and pasted on a gray-blue paper, to form a “poster.” 

Color Theory 

The work of making a color chart of primary and binary colors shuld be, given 
near the close of the school year. Full directions are given on page 1. Before they 
are asked to make the Chart, the children may learn the names of the colors, and 
may use them, in ways suggested by the illustrations on page 39. It is hoped that 
every child will make the Chart planned for every book in the series. When the 
student has completed the eight years of work, he will then have a fund of infor¬ 
mation about color that will be of immense value to him 









♦ 






ft ' 


/ 














I 





















SUGGESTIONS TO TEACHERS 

General Plan 

The subject matter in Book Three is grouped under the following heads: na- ; 
ture, landscape, figure and animal, object, design, construction, picture-study and 
theory of color. While the lesson arrangement given may be followed page by 
page, it may also be changed to suit local conditions, or to adapt it to any other 

course of study. The season in a particular locality should govern the subjects 

selected for nature study. Naturally one would not select the fall months for the 
study of the tulip or daffodil, nor the spring months for the study of oats or other 
grains. The illustrations in the book are not to be copied by children of this 

grade. They are suggestions of the kind of material that the teacher should pro¬ 

vide, and of the technique or way of rendering that should be taught at this stage. 

The blank pages in the book will be found most useful as a means of preserv¬ 
ing the best results of the children’s practice. All exercises mounted in the book 
should be neatly trimmed, and mounted first upon a gray mat, cut y£ inch wider 
on all margins than the paper upon which the drawing is made. 

Nature Drawing 

Pages 3, 5, 7, 11 and 39. If oats are not available in your locality, choose any 
other grain, or a growth of grass or sedge. The idea of the lesson is to teach direct ' 
handling of the pencil or crayon, as indicated in Figs. 1, 2 and 3. Any growth that 
shows small elements, like seeds in their cases, and larger elements, like leaves, that 
can be drawn directly with short and long strokes of the pencil, will answer for a 
study. Be sure to have plenty of specimens, so that each pupil can see one clearly. 

All specimens should be placed in front of a background, in order that shapes may 
be distinctly Seen. 

The lessons on pages 5, 7 and 11 are sufficiently explained in the text. Pictures 
of trees may be used as studies, if there is no opportunity for the children to study 
trees out of doors. 

After drawing and painting fruits and vegetables (page 11) shapes of the 
forms studied may be cut from paper. The best of these shapes should be pre¬ 
served and mounted, as they are legitimate drawing exercises, and will furnish 
many motives for design. 

The painting of the tulip or any other bright flower, should be given in the 
spring, and design motives cut from it (page 39). "How to Paint a Tulip” is fully 
explained on page 40. 

Figures and Animals 

Pages 13, 15, 17 and 36. The children will greatly enjoy the work on pages 
13 and 15. Let them draw with pencil or crayon, to express any game or occupa¬ 
tion that they like. The "pose” may or may not be present at the time of draw¬ 
ing. The best of these shapes may be filled in with ink or black water color, or 
they may be traced upon dark gray or black paper, cut out and mounted. The poem 
on page 15 should be read by the children, and the pictures discussed. After this 
a "costumed pose” of one of these characters would be an interesting exercise. 
Pictures of animals will probably have to serve as models for the blackboard lesson 
on page 17. One large picture, pinned before the class, will answer. If blackboard 
drawing is not practicable, the children will enjoy drawing with white chalk on 
black or dark gray paper. A stuffed wild bird would be a good model for the les¬ 
son on page 26. Or better still, if ther^ are ducks in your locality, encourage the 
children to make sketches at home, and bring to school for criticism. 

(Continued on Page 3, of cover.) 


I 




THE 

GRAPHIC 

DRAWING BOOKS 

A. SERIES OF GRADED DRAWING BOOKS 
PRESENTING GRAPHICALLY, BY MEANS 
OF PROGRESSIVE STEPS, A COURSE IN COLOR, 
DRAWING, DESIGN, CONSTRUCTION AND 



THE PRANG COMPANY 












SUGGESTIONS FOR PROTECTING THE COLOR CHART 

The Color Charts in this series of Drawing Books are painted by hand,—the 
work of an expert colorist. It is impossible to reproduce by any known process of 
printing the exquisite color quality and velvety bloom of these Charts. It will be 
readily seen that such delicately adjusted colors will not stand, without injury, the 
usual wear of a school text book. For this reason, the following suggestions are 
given for their protection : 

1. Mount the Chart for this book on a piece of cardboard a little larger 
than the size of the Chart page. A little paste applied to each of the four 
corners is all that is necessary. Make a cover for the Chart by cutting con¬ 
struction paper, of a grayed tone, one inch longer than the longest measure¬ 
ment of the cardboard. Paste this extra inch to the back of the top of the 
cardboard. Fold over to make a hinge. This can be done in primary grades. 

2. Follow the steps given above, adding an easel support to the Chart, 
by pasting a strip of cardboard about 2" x 6" to the back, as a brace. Score 
the strip about an inch from the top, to make the hinge. Paste the inch 
space to the back of the Chart. This device will hold the Chart in an upright 
position, when it is so desired. 

3. Make a passe-partout case for the Chart. Cut a piece of cardboard 
l /i larger on all sides than the Chart. From a sheet of transparent celluloid, 
cut a piece the size of the cardboard. Fit the cardboard and the celluloid to¬ 
gether and paste passe-partout binding on three edges,—two long and one 
short edge. This makes an open case, into which the Chart may be slipped. 
An easel back may be added, if desired. When protected in this way by the 
transparent cover, the Chart may be used in class-room work without being 
removed from the case. 


Pages 1 and 2 of this book consist of a detached Color Chart which should accompany each book. 

Copyright , ipi# t By The Prang Company. All Rights Reserved. 

/. 

FEB-7 1314 

©C». A 3 61915 



1 


A PRACTICAL COLOR THEORY 
Color Chart No. 3 

To the Teacher 

The Color Charts in this series of books present a color theory which will be 
found of the greatest assistance in establishing color standards and color harmonies. 
The Charts may be duplicated by the pupils or they may serve as standards of tech¬ 
nical color, to which the various exercises in design and color may be referred. The 
making of a Chart, after the model on page 2 may be easily accomplished by chil¬ 
dren completing the third year of school, as it involves merely the laying of even 
washes of the primary colors (yellow, red and blue), the binary colors (orange, 
green and violet), and of lighter tints of each of these colors. Water color is the 
best medium for such work. In case water colors are not available colored cray¬ 
ons, on white paper, may be used, obtaining tints by a lighter pressure of the normal 
color. 

The teacher should herself prepare a Chart, following the directions for lay¬ 
ing tints given below. Directions for mixing and laying the primary and binary 
colors are given on page 1, in Books One and Two. 

Colors in Full Intensity 

The quality of a color with reference to its brilliancy is called intensity. 
The colors that are seen in the Color Circle on page 2 are all of full intensity, or 
“normal.” They are the full strength of those colors. 

Tints of Colors 

All tints of a color lighter in value than full intensity or normal are called 
tints. Tints are obtained by the addition of white to the normal tone. In water 
color the addition of water to the tone at full intensity produces a tint. 

To Lay Washes of Normal Colors and Their Tints 

1. Red, Light Red and Lighter Red 

(a) Moisten the cake of red paint, and lay a wash of full intense color, 
working directly from the cake. The space covered should be about 
three inches square. 

(b) Transfer three brushfuls of color from the cake to the lid of your box. 
Add three brushfuls of clear water. Lay a wash of this mxture. The 
result will be a tint of red. 

(c) Add three more brushfuls of clear water to the pool of color in the 
lid. Lay a wash of this mixture. The result will be a lighter tint of 
red. 

2. Violet, Light Violet and Lighter Violet 

(a) Moisten the cake of blue paint, and add a few more drops to the cake 
of red. Transfer to the lid of the box equal quantities of red and 
blue. Add more of either color necessary to give a violet wash to 
match the violet in the Color Chart. Spread a wash of this color 
(violet full intensity). 

(b) Add three brushfuls of water to this normal violet. Lay a wash of 
this mixture. The result will be a tint of violet. 

(c) Add three more brushfuls of water to the remaining tone. Lay a 
wash of this mixture. The result will be a lighter tint of violet. 

When these washes are thoroughly dry, prepare “finders” of the required size 
(2^x^" is a practical size for the openings). Trace the rectangles upon the even- 
est portions of the color washes. Cut out and mount the normals with their tints, 
following the arrangement given on page 2. The normal and tints of the four 
other colors in the Circle may be prepared and arranged in a similar manner. 




YELLOW 



RED 



NORMAL 



COLORS AND TINTS 


BLUE 


VIOLET 


\ 



LIGHTER ORANGE 





ORANGE 



BLUE 


• V 





























P Drawinsrs of Grains: When you wish to draw with pencil or crayon from 

«■>;£ <k s : I 

sary. 

hJ 

























A Tree Painted With Water Color: Have you seen maple trees whose leaves have 
turned to scarlet and gold? They are beautiful to paint. First paint with yellow wash 
the shape of the whole top of the tree. Before this wash is dry drop in red, directly 
from the cake. With your brush, guide the location of the brightest color ; Fig. 1 
shows more red added to the left side of the tree Draw the tree trunk with yellow 
red and blue color, blended to make a neutral color. Add a few touches with t 
brush to represent the ground. 





























Fig. 2. 


A Tree Drawn With Black Crayon: Look closely at the tree you wish to draw, 
and then carefully sketch with a light line the shape of the top part. Be sure this shape 
is true Then with the point of your crayon, draw vertical strokes to cover the shape 
with a light tone. Some parts of the foliage will look lighter than others. To show 
this begin at the top and draw darker strokes, over the light tone, as shown in Fig. 1. 
There will be still darker parts, under the big branches. Try to show by the color of 
your crayon strokes where the foliage looks light, where the deep shade settles, and 
where the strong branches are seen. Draw the trunk last, with firm, strong lines. 
Add short strokes for the grass at the foot of the tree. 























Landscapes With Brush and With Crayon: You have learned that a picture of 
out-of-doors is called a landscape. The part nearest you is called the foreground. Ihe 
part that is far away is called the distance. The landscapes on this page show a tree in 
the foreground, with many trees in the distance. , .. x , 

If you paint a landscape, lay the sky wash first. Then paint the distance and next 
the foreground. When these washes are dry, paint the tree. If you draw a landscape 
with crayon, first sketch very lightly the outline of the tree. Then sketch the shap 
of the distance. Next, lay the strokes for the foliage of the tree and for the trunk. Lay 
in the distance, and after that the foreground. Fig. 2 shows you the way the strokes 
are laid. 





























How to Draw Vegetables: Study the shape of the vegetable before you. Make 
a few light lines on your paper to show how long, how high and how wide it is. (Fig. 
1). When you are sure you have shown this truly, draw the stem or the eyes or the 
sprouts, or whatever growths belong to that particular vegetable. Then lay on the 
strokes of colored crayon, in the direction that the form of the vegetable seems to 
suggest. 

In painting a vegetable show the general shape by a few light brush strokes (Fig. 
3). Then lay on a wash of color (green, yellow or light red) as the color of the vege¬ 
table will suggest. Drop in the stronger colors before this first wash is dry. 



















What Do You Like to Do? Have you watched children at recess or after school? 
Some of your playmates like to read; others like to jump the rope or slide down hill; 
others like to help Mother at home. Draw a picture, telling what you like to do, 
best of all. 






























i oreign CUd rer\ 

Little Indian 3ioux or Cttow 
Little frp sty Eskt mo 5 
Little lurk or cJopanee , 

OJ dont you wish that you were rne? 

You ha ve Seen the scorief ttees t 
And the iions over ,5eQ5‘ 

You have eciten ostrich edc's. 

the? r 

<©uch a life is very fine, 
s£bu + it s not so nice as mine; 
You must often i os you trod, 
Hove wear led not to be abroad, 

Y>u H c.ve curious filings fa ea+ 7 " 

T am ^ed on proper" meat- * 

You m u sr~ d we 11 ' hey on d the foam 
But' 1 mm sa|e and live «f home. 

Little Indian , L3»oux or CVow, 

Little frosty C^KimOj 
Little ( Turk' or ejapanee 
O! d 0 n fryov w ish, that yov wereme? 

Robert Louts Stevenson 


And turned the turtles ojf 




A Character Pose: Your teacher will help someone to dress in the costume of 
another country, or to show some character that you have read about. Red Riding- 
hood, Robinson Crusoe, a soldier or a sailor would be fine characters to draw. Do 
not keep the “pose” standing too long. Use black or colored crayons. 


























17 



Blackboard Drawings of Animals: Not many children will be able to draw from 
a live squirrel, or pig, or ostrich or deer; but all children can collect pictures of 
animals. From good pictures of animals make outline sketches. Draw blackboard 
pictures in much larger size. Try hard to make the general shape right. If the big 
parts are truly drawn, it does not matter so much about the little parts. How many 
wild animals have you seen? 












19 


STICK-PRINTED DESIGNS IN NORMAL COLORS AND TINTS 

To the Teacher 

The designs on page 20 show four interesting arrangements of color shapes 
printed with sticks upon geometric diagrams of squares. In these designs the 
color schemes bear direct relationship to the Color Chart on page 2, for the shapes 
are printed in normal colors and tints, upon backgrounds of grayed tints of the same 
color. Fig. 1 shows the small squares in the full strength of red and the large 
squares in a tint of Ted, printed upon a background of a very much grayed tint of 
red,—a color that we usually classify as brown. Fig. 2 shows two tones of yellow 
upon a gray-yellow background; Fig. 3 shows a tone of blue, in the full strength 
of the dye, on a grayed tint of blue; and Fig. 4 shows two tones of green upon a 
light gray-green background. These backgrounds were all selected from a stock of 
colored papers, the tone of the paper determining the color of the dye used in 
printing. 

These and similar exercises could be carried out in the third year of school, 
if each child were supplied with a stick-printing outfit, containing red, yellow and 
blue color pads, and a collection of sticks, whose ends present various geometric 
shapes, such as the square, circle, triangle and oblong. 

Geometric Diagrams for Surface Patterns 

Figs. 1 and 2 show backgrounds that were ruled off in inch squares. The 
children should be taught to do this themselves, setting off with a ruler inch spaces 
on all edges of the paper, and ruling light lines, to connect opposite points. Figs. 
3 and 4 were made in backgrounds ruled off in half-inch squares. 

How the Designs Were Printed 

In printing Fig. 1 the full strength of red was used for the small squares. 
In the stick-printing outfit is a “clear” cup, containing four felt pads. All but one 
of these pads were removed, and the remaining pad thoroughly saturated with alco¬ 
hol. The gray-red paper, ruled off in inch squares, was placed upon a sheet of 
blotting paper (several sheets of manila paper would answer as well). The oiled 
paper circle was removed from the red color cup. The small square stick was 
pressed first upon the clear pad, next upon the red pad, and finally, with even pres¬ 
sure, upon a corner of the drawn square. This process was repeated for the print¬ 
ing of every small square in the pattern. (After the printing stick is thoroughly 
saturated with color, it will not be necessary to press it back on the pads for every 
impression). The large squares were printed in a lighter tone of red, obtained by 
pressing the large square stick first on the alcohol pad, next on the color pad, then 
on the alcohol pad again, and finally in the center of a ruled square. The other de¬ 
signs were printed in a similar way. 

Exercises Based on Stick-Printed Designs 

The examples given on this page are only suggestive of the many arrangements 
of color shapes that may be printed with the simple outfit described above. Chil¬ 
dren could not draw these shapes with sufficient accuracy to insure beauty in the 
result; but by the process of printing, standards of excellent design may be estab¬ 
lished which by the laborious process of drawing and coloring could be obtained 
only in the higher grammar grades and in the high school. 









STICK-PRINTED DESIGNS IN NORMAL COLORS AND TINTS 








































GIRL AND COW 

THEODORE ROBINSON. 




22 


PICTURE STUDY: GIRL AND COW 
By Theodore Robinson 

The original painting from which this picture was made, hangs in the Metro¬ 
politan Museum, in New York. On the days when the museum is open to the pub¬ 
lic, there is always a group of people standing before this painting. Why is it that 
people like the picture so much? If you live in the country, or if you have 
ever visited a farm in the summer time, you will perhaps understand the 
reasons for their interest. Artists almost always go to the country to find 
subjects for their pictures. The great sky space, the trees and rocks, the 
rivers, streams and lakes, the fields and meadows and the animals that 
are found in them can all be studied much better in the country than in 
a city or town. Even the people who live and work in the country are more in¬ 
teresting to put into pictures than people who are usually seen in city streets. 
This is because the peasants and farmers in the country are dressed for their work. 
Their clothes are not worn because they are fashionable or costly, but because they 
are adapted to the occupation of the wearer. They are usually simple in line; that 
is, they are not covered with ruffles or trimming that would make them fussy. 
Look at the dress of the girl in the picture. It is a simple, straight-line skirt, 
which gives the artist a chance to paint a large mass of fine color. If, instead, he 
had represented a “stylish” dress, it would not have suited the wearer nor the sur¬ 
roundings, nor would it have made a fine spot in the picture. The waist or bodice 
that the girl wears gives another chance for a spot of fine color. How simply her 
hair is dressed, too! It is quite in keeping with her costume, and with her occupa¬ 
tion. You can see that a peasant girl, dressed in clothes that are best suited for 
her work, can look beautiful. How happy and contented she seems, as she stands 
there in the shade of the green trees, minding her cow, and keeping her fingers busy 
with her knitting! No wonder the artist who saw her wished to put her in a pic¬ 
ture. Artists are wiser than other people in their judgment of what is really 
beautiful. 

Cows, too, are favorite subjects with the artist. They make the best of models, 
for they are patient and slow, by nature, and will stand for a long time content¬ 
edly chewing their cud, while resting in the cool shade, on a hot summer day. Then, 
too, in a picture a cow makes a spot of interesting shape and color. Large masses 
of light and dark brown, or of black and white, are often found in a cow’s hide. 
This is one thing that makes them picturesque—that is, good subjects for pictures. 

It is not surprising, then, that men and women whose lives are spent in a noisy 
city should like to pause awhile before this picture of simple beauty and rustic 
peace. Pictures of this kind often open our eyes to beauty which is always around 
us, but which we are too blind or too ignorant to see. It is the mission of the 
artist to teach us, by showing us what they see. 

The painter of this picture was Theodore Robinson, an American artist who was 
born in 1852 and died in 1896. 




24 



A Distinguished Member of the Humane Society: 

By Sir Edwin Landseer. 

Dog friends are very good friends to have. They not only repay our care with af¬ 
fection, but many times they protect us, when we are in danger. Some dogs are train¬ 
ed to hunt for people who are lost in the snow; others guard our property at night; 
and others will jump into the water and save a child from drowning. The noble dog 
whose picture is shown on this page would do this. Sir Edwin Landseer, an English 
artist who became famous because of his wonderful pictures of dogs and other animals, 
heard of the lives that this dog had saved and wished to paint his picture. He called 
the painting “ A Distinguished Member of the Humane Society”, because he thought 
that a dog who could save lives should be an honored member or such a society. 

Sir Edwin Landseer’s father was himself an artist, and when he discovered how 
great a talent his son had for drawing animals he encouraged him in every way. The 
little boy was always running away from his teachers and books, and was always draw¬ 
ing pictures of animals. So his father took him into the open fields near their home 
and would help him sketch the cows and sheep that were grazing there. In later years, 
when Edwin had become famous, the father would point to the stile on which the little 
fellow used to sit and draw, and say “That was the entrance to Edwin’s first studio.” 
Some of these sketches, made when Edwin was six years old, are now preserved in 
the South Kensington Museum, in London. 

You will enjoy making a collection of Landseer’s pictures. Photographs and 
prints from his paintings are very popular. 















26 




Four Ways of Making Pictures: Sometimes we wish to draw pictures, sometimes 
to paint pictures and sometimes to cut pictures from paper. Fig. 1 shows an out¬ 
line picture of a duck, drawn on white paper. Fig. 2 shows the shape of a duck cut 
from paper. Fig 3 is a wash drawing in grays, made with a brush and different tones 
of gray. Fig. 4 is a black crayon drawing. We could make at least two more kinds 
of drawing: a colored crayon drawing and a drawing in water colors. 

From a stuffed bird of bright plumage, make three different kinds of sketches. 
Which do you like best? 





















Drawing From an Object: Choose an object that is large in size and of simple 
shape. First show on your paper how high and how wide it is (Fig. 1). Then draw 
the shape of the top and bottom (Fig. 2). Next draw the handle, if there is one, or any 
part of the object that is not included in the general shape. Strengthen the lines that 
you wish to show most plainly (Fig. 3). If you wish to add a gray wash or a tone of 
color to your drawing do this before you strengthen the outlines. 


1 




















Designs for Rugs: Gray manila paper, squared off in quarter-inch spaces, is a great 
aid in planning designs. Border designs for rugs may be easily drawn upon it as the 
ruled lines will keep the bands straight and of even width. Fig. 1 shows one such 
design. Black crayon and one color, such as orange, red, green, blue or violet will 
give good color effects. You can make many different patterns. 

We can also plan rugs with borders all around the margins. Fig. 2 shows a corner 
design, with connecting bands. Make a design like this, on 6"x9" squared paper. 
Draw the corner shapes with orange crayon and make the bands black. Then plan 
another design, and use a different color with black. v 


























































































Stick Printing: With neatly cut sticks and with dyes we can make many beauti¬ 
ful arrangements of shapes. The ends of the sticks are pressed against the pad of 
color, and then pressed against the paper or cloth where the design is to be printed. 
It is like printing with a rubber stamp. Gray or colored paper, ruled in inch squares, 
gives us a pattern upon which we can print the shapes. Figs. 7 and 8 were printed 
in blue upon a gray-blue paper. 


















34 




Borders in Musical Measure: This page shows us another way of making borders. 
If we lay brush strokes regularly, keeping time by counting or humming as we lay 
them, we shall form regular repeats. Keeping time with our brush strokes is like beat¬ 
ing time to music, or like marching to the sound of fife and drum. Let us sing as 
we make our borders, all together. One color, as blue, will look well on gray paper. 

















Tile Design, on Squared Paper: Tiles are thin pieces of baked clay, used for 
floors, for roof coverings, and as a setting or frame for fire-places. They are sometimes 
of such beautiful design and color that they are used separately, like any other piece of 
pottery. We sometimes use them to protect a table from contact with hot dishes. 
Figs. 1, 2, 3, and 4 show you four steps in planning a tile design. Copy these steps, mak¬ 
ing one drawing instead of four. Use gray squared paper, black crayon and one color* 
ed crayon. You may choose red or green or violet or orange. Count your squares care¬ 
fully, and fill in the large spaces with an even tone of color. The shapes that are black 
in Fig. 4 should be filled in with black crayon, in your drawing. When you have made 
a neat drawing of Fig^ 4, plan, some designs of your own. 



















































































































38 



Animals That Can Move: Would you like to make pasteboard animals that can 
move heads, tails and legs, and that can also stand alone? The sketches on this page 
tell how to do this. You will need to look in your collection of animal pictures and 
pick out some suitable subjects, such as a horse, cow, dog, deer or almost any wild 
animal. Cut from paper the shapes of different parts. First cut the body, then cut 
separately the shapes of all the legs, the head, the tail, etc. Put the different parts to¬ 
gether, to see if the proportions and shapes look right. Correct any errors. Then 
carefully trace the separate parts on pasteboard. Cut out the pasteboard shapes. The 
different parts are held together with small brass paper-fasteners. The head, legs, tail, 
etc., can by this means be made to move. An oblong piece of cardboard is slit to form 
openings, into which the feet of the animal may be placed. 
























2 



3 


1 


PLANT FORMS IN DESIGN 
























































40 


UNITS OF DESIGN FROM PLANT FORMS 

To the Teacher 

The designs shown in color on page 20 in this book are of a purely abstract 
character, and the units were made and repeated by the mechanical process of 
printing. There is another and very delightful source of design, to which the chil¬ 
dren should be early introduced. Page 39 is given in illustration of this source. 
A favorite flower, the tulip, is first studied, for its own beauty and interest (Fig. 
1). The effort is made to learn all about its color, its growth, the proportions of 
different parts, and the various textures of flower, leaf and stem. Then, with scis¬ 
sors and paper, all the different shapes found were first cut freely, in large size, and 
then in smaller sizes, arranged upon a sheet of paper, and their shapes traced and 
colored (Fig. 2). One of these arrangements was then chosen as a unit of design, 
in a problem,—in this case, a design for a book cover. The unit was here bal¬ 
anced, to form a symmetrical design. 

How to Paint a Tulip 

As a subject for a painting lesson, a yellow and red tulip is probably most sat¬ 
isfactory. First, paint the shape of the flower cup with a yellow wash. Before 
this is dry, drop in red, guiding the blending of the colors with the brush, to gain 
the desired effect. Wash the brush and paint the stem with a greenish yellow, 
made by taking a little blue in the brush, and then dipping it into yellow. Paint 
the leaves with a yellow wash, dropping blue into it, and guiding the blending of 
the colors with the brush. 

Shapes Found in Different Parts of the Tulip 

With scissors and manila paper, cut the shapes of different elements of the 
tulip. The leaf, the stem and the side views of flower and bud all present indi¬ 
vidual and interesting shapes, which may be cut in life size first, and then in smaller 
size with the thought of their use as design motives. Fig. 2 on page 39 shows a 
group of these shapes, first cut from paper and then traced. These tracings were 
filled in with flat tones of color, in grayed washes. 

A Design for a Book Cover 

Fig. 3 shows the side view of a flower and the shapes of a stem grouped to 
form a unit of design. This unit was then repeated once to form a symmetrical de¬ 
sign. It could be carried out in colored papers, or the shapes might be cut from 
manila paper and arranged upon the rectangle. When the desired arrangement is 
obtained, the shapes could be traced and colored. The letters forming the title of 
the book should first be drawn upon squared paper, and then traced upon the cover. 
If the whole thing is carried out as a cut paper design, the letters might also be cut, 
basing the cutting of each letter upon an inch square. 

The Contents of the Book 

A blank book with a cover design of this nature should be made, in which to 
mount paintings and drawings of flowers. The left pages might show realistic 
treatments of flowers, and the right pages the shapes of different parts of the 
growths, with some suggestions as to their use in forming units of design. 



SUGGESTIONS TO TEACHERS 

(Continued fronfPage 2, of cover.) 

Drawing from Objects 

Page 28. In third grade, a little more formality is looked for in the study , of 
objects. Proportion is studied first, as suggested by Fig. 1. The children should 
now be taught to show how wide and how high an object is, before they proceed to 
show any of the details, however interesting. Do not be too critical about faults 
in perspective. Try to help the children to see foreshortening rather than to un¬ 
derstand its principles. If the object studied has a different tone on the inside, like 
the pail illustrated in Fig. 4, it will be easier to demonstrate how far down in 
t le pail can be seen. In studying a large cylindric object like the pail, the bottom 
may be slightly tipped, so that all the children may see a little of the inside, as it 
stands on the teacher’s desk. 

Design 

Pages 19, 20, 30, 32 and 36. Full instructions for carrying out the interesting 
designs on page 20 are given on page 19. Another stick-printing exercise is given 
on page 32. Boxes, envelopes, bookcovers, cornucopaeas and many other articles 
may be made of these decorated sheets of colored paper. In the absence of the 
stick-printing outfit, similar effects could be produced with colored crayon. The 
exercises on pages 30 and 36 are especially valuable, as they are preliminary to im¬ 
portant lessons in design in the succeeding books. 

Construction 

Pages 38 and 39. The lesson in making the pasteboard horse, given on page 
38, may be supplemented by work of a similar nature, from any other animal. Such 
work will develop the children’s ability to draw in correct proportion the different 
parts of animals. It is well to possess a good “general idea” of animal form, but 
the good draughtsman must go farther than this. He must know of the particular 
and characteristic shapes of heads, legs, feet, tails, etc. He must understand the 
articulation of joints, etc. “Work that is play” sometimes helps children to gain 
much of this kind of information. 

The note-book design, given on page 39, may be easily carried out by the 
children. 

Picture-Study 

Pages 20 and 24. With pictures of the quality given on these pages, picture- 
study becomes a delight and an inspiration. A collection of Landseer’s pictures, 
in penny prints, might be made by the children, if the teacher would help in the 
selection of the subjects, and in bringing the matter to the attention of the local 
picture dealer, who might place them on sale. Such pictures could be mounted on 
gray paper and placed in a portfolio, made by the children. Or, interesting picture- 
books could be made by the children, using pictures of animals cut from maga¬ 
zines and papers. Such picture-books could be sent to a “children’s, home” at 
Christmas time. 

Color Theory 

Pages 1 and 2. This work is fully explained in the text on page 1 and by 
means of the Chart on page 2. While the children should use the normal primaries 
and binaries and their tints, in the various color exercises of the year, the making 
of the Chart should be given at the end of the term, as the greater the technical 
excellence of the work, the greater will be its value. 













SUGGESTIONS TO TEACHERS 

General Plan 

As the course in art instruction progresses through this series of books, it will 
be seen that there is less and less of indefinite or impressionistic work, and more 
and more of the conscious study of principles. Even the nature drawing is affected 
by this purposeful idea, for plant and animal forms are coming to be studied for the 
sake of their use as design motives. Such studies are no longer dismissed with the 
mere recording of the facts of their growth and color. The classification of the sub¬ 
ject matter is kept under the usual heads of nature, landscape, figure and animal, 
object, design, construction, picture-study and color theory. Lettering is intro¬ 
duced as a new topic, in this book. The teacher may present the lessons, page by 
page, as they appear in the book, or she may change the sequence to fit local con¬ 
ditions, or to aid in adapting the lessons to suit the general course of study. Flow¬ 
ers and plants should always be studied in their own particular seasons, when in¬ 
terest in them is most strongly felt. The illustrations in the book are for sugges¬ 
tions of the kind of material the teacher should provide, and to show the technique 
that is recommended for pupils of this grade. Illustrations of plants, animals or ob¬ 
jects should not be copied by the children. The alphabet and all lettering arrange¬ 
ments may be copied, however, as the pupils must learn certain exact proportions 
in this class of work. 

The blank pages in the book will be found convenient for preserving the best 
specimens of the students’ work. All exercises pasted on the pages should be 
mounted first on a gray paper, cut % inch larger on all sides than the paper upon 
which the drawing is made. 

Nature Drawing 

Pages 3, 5 and 7. Some fall flower may be substituted for the dandelion 
shown on page 3, or this page may be given for spring nature work. The proc¬ 
esses of painting the dandelion, however, should be followed in the study of other 
flowers, such as the aster, chrysanthemum, thistle, etc. Any seed or seedpod 
may be used instead of the sprouted bean, on page 5, if it is desired to give this 
lesson in the fall. The seedpod of the poppy or any kindred growth would make an 
excellent motive. The maple-leaved viburnum which is so interestingly shown on 
page 7 may suggest the similar treatment of almost any berry-bearing spray. 
Study the two modes of rendering given on this page. Berries and autumn leaves 
should certainly be rendered in color, either water color or colored crayons. 

Landscape Effects 

Pages 17 and 39. The illustrations on page 17 suggest several different treat¬ 
ments of the landscape. To reproduce such effects, however, is beyond the ability 
of fourth grade students. The sketches will interest the children, however, and 
will provoke discussion. But the teacher should look for much simpler expressions 
of “The Season I Like Best.” On page 39 is shown a paper-cut landscape, worked 
out in normal green, one tint and two shades, in direct relation to the points il¬ 
lustrated in Color Chart No. 4, on page 2. This is described fully on page 40. 

Figures and Animals 

Pages 13, 15 and 38. In preparation for the work suggested on page 13, a 
“game” might be played in the schoolroom, for the express purpose of giving the 
pupils not participating in the game a chance to study the action. Line sketches 
should be made first. Those that are worthiest may afterward be filled in with ink 
or water color washes. 

A rabbit or some other pet animal should certainly be present in the school¬ 
room, as the basis for such a lesson as is suggested on page 15. Sketches of boys 
at kite-flying time (page 38) should be made at home, and brought to school for 
criticism. 

(Continued on Page 3, of cover.) 




THE 

GRAPHIC 

DRAWING-BOOKS 

A. SERIES OF GRADED DRAWING BOOKS 
PRESENTING GRAPHICALLY, BY MEANS 
OF PROGRESSIVE STEPS, A COURSE IN COLOR, 
DRAWING, DESIGN, CONSTRUCTION AND 
PICTURE STUDY 



THE PRANG COMPANY 











SUGGESTIONS FOR PROTECTING THE COLOR CHART 


The Color Charts in this series of Drawing Books are painted by hand,—the 
work of an expert colorist. It is impossible to reproduce by any known process of 
printing the exquisite color quality and velvety bloom of these Charts. It will be 
readily seen that such delicately adjusted colors will not stand, without injury, the 
usual wear of a school text book. For this reason, the following suggestions are 
given for their protection: 

1. Mount the Chart for this book on a piece of cardboard a little larger 
than the size of the Chart page. A little paste applied to each of the four 
corners is all that is necessary. Make a cover for the Chart by cutting con¬ 
struction paper, of a grayed tone, one inch longer than the longest measure¬ 
ment of the cardboard. Paste this extra inch to the back of the top of the 
cardboard. Fold over to make a hinge. This can be done in primary grades. 

2. Follow the steps given above, adding an easel support to the Chart, 
by pasting a strip of cardboard about 2" x 6" to the back, as a brace. Score 
the strip about an inch from the top, to make the hinge. Paste the inch 
space to the back of the Chart. This device will hold the Chart in an upright 
position, when it is so desired. 

3. Make a passe-partout case for the Chart. Cut a piece of cardboard 
YY larger on all sides than the Chart. From a sheet of transparent celluloid, 
cut a piece the size of the cardboard. Fit the cardboard and the celluloid to¬ 
gether and paste passe-partout binding on three edges,—two long and one 
short edge. This makes an open case, into which the Chart may be slipped. 
An easel back may be added, if desired. When protected in this way by the 
transparent cover, the Chart may be used in class-room work without being 
removed from the case. 


Pages 1 and 2 of this book consist of a detached Color Chart which should accompany each book. 


Copyright , 1914 , By The Prang Company. All Rights Reserved. 

/, /sT 

FEB -7 1914 

© Cl. a: i 6.191 6 

■ 7 - _ 







1 


A PRACTICAL COLOR THEORY 
Color Chart No. 4 

To the Teacher 

The Color Charts in this series of books present a color theory which will be 
found of the greatest assistance in establishing color standards and color harmonies. 
The Charts may be duplicated by the pupils or they may serve as standards of 
technical color to which the various exercises in design and color may be re¬ 
ferred. The making of a Chart after the model on page 2 in this book may be 
easily accomplished by pupils completing the fourth year in school, as it involves 
merely the laying of even washes of the primary and binary colors with a tint and 
a shade of each. Water color is the best medium for such work. In case water 
colors are not available colored crayon, on white paper, may be used, obtaining 
tints by a lighter pressure of the crayon and shades by laying strokes of black 
under the stroke of normal color. 

The teacher should herself prepare a Chart, following the directions given be¬ 
low. Directions for mixing and laying the primary and binary colors arid their 
tints are given on page 1 in Books I, II and III. 

Tone 

Tone is that quality through which objects become visible to the eye. Tone 
is a general term for any spot of color, gray, black or white. 

Value 

The quality of a tone with reference to light and dark is called value. White 
has the lightest value; black has the darkest value. 

Tints and Shades 

All tones of a color lighter in value than the full intensity (normal) of that 
color are called tints. All tones of a color that are darker in value than the full in¬ 
tensity of that color are called shades. Shades are produced in pigments by the 
addition of black to the normal tone. 

To Lay Washes of Normal Colors, Their Tints and Shades 
1. Normal Yellow and Light Yellow 

*(a) To lay washes of normal yellow and light yellow, follow the direc¬ 
tions given on page 1, Book III, under the head “To lay Washes of 
Normal Colors and Their Tints." 

(b) Dark Yellow. Moisten the cake of black paint, being careful not to 
touch the cake with the brush. Transfer several brushfuls of strong 
pure yellow to the box lid. To this add a touch of black. If this mix¬ 
ture gives a greenish tone (as owing to the imperfections of pigments 
is apt to be the case) add a little red. Try to match the shade of 
yellow given in the Chart on page 2. Cover with this wash a space 
about three inches square. 

(c) When these washes are thoroughly dry, prepare finders of the re¬ 
quired size (2)4x2)4 is a practical size). Trace the rectangles upon 
the evenest portions of the washes. Cut out and mount the normals 
with their tints and shades, following the arrangement given on page 2. 




2 


YELLOW 



NORMAL- COLORS, 


TINTS AND SHADES 


LIGHT YELLOW 


Y ELLOW 





























3 



How to Paint a Dandelion: Indicate with light brush lines of pale yellow the 
main lines of growth. Paint the shape of the flower head with a wash of strong, pure 
yellow (Fig. 1). Add the bracts with green. Paint the shapes of the leaves with a 
yellow wash first. Before this is dry, drop in blue, to make green. Wash your brush, 
and paint the stem of the flower in the colors that you see in your own specimen. 


. 


t 



















A Book For Nature Notes: The small sketches on this page show the wonderful 
things that happened to a bean when it started to grow. If you do not believe that 
these sketches are true, plant a bean on a pad of wet cotton, placed on the top of a glass 
of water. In a few days you will see sketch 2, then 3, then 4, then 5, and finally >. 
You can then put the little plant in the soft warm earth and it will grow and bear 
fruit A booklet may be made to hold a record of all of these stages of growth. The 
decoration for vour book may be a design made from some interesting shapes that you 
have found in the growth of the bean. Cut the unit from paper and when you have 
adapted it in size and shape to suit the cover, place it in position and trace around it. 
Fill-in the shape with color. The title to your book should be carefully drawn, a 
finished in the same color as your unit. 


























7 









Wild Fruits and Berries: When we select a twig or a spray for drawing or paint¬ 
ing. we should look for one that has in its growth both large an f d *"Jf^ s ^f, es - ke^n- 
or two will probably provide the large shapes, and a group of berries will make 

terestmg ®™ ad u ® ha P, ay any part Q f t h e spray that you do not wish to draw. Sketch 
very liehtly the mainlines of growth. Sketch also, the larger veins of the leaves as 

The sketches on this page are from the maple-leaved viburnam. The berries were 
dark blue, and the leaves were richly toned with autumn colors. 


















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Design Motives From Berries: A berry-bearing branch, like the one shown on 
page 7, is not only beautiful in its growth and natural coloring, but it furnishes 
interesting shapes which we may use in making designs. The row of shapes at the top 
of this page shows a few of the many ideas and arrangements that were suggested by 
the viburnum branch. How simple the first arrangement is! It is only the flat shape 
of a single berry, grouped with a straight line suggested by the stem Yet if this simple 
unit were repeated over a surface in an orderly way, with a color in harmony with the 

background, the effect would surely be good. _ . 

Fig. 1 shows you how to rule paper for a stripe design. Set off half and quarter 
inch spaces on the upper and lower edges of a piece of gray or colored paper. Set off 
inch spaces on the left and right edges. Rule light lines connecting opposite dots. 
With colored crayons, make several arrangements of berries and stems from a specimen 
of your own. Choose the unit you like best, and draw it with one color and black in the 
spaces planned. (See Fig. 2). 




0 ) r 






























11 






A Cover For a Memorandum Book: 

You can buy for a penny a small blank book 
with a stiff paper cover, just big enough to 
slip into a hand-bag or side pocket. The 
little book will take on quite another air, 
when you have fitted around it a cover of 
fine color and design. Fig. 1 shows a piece 
of construction paper, soft brown in color, 
of a size planned to fit a book about three 
inches high, and tvVo and one-quarter inches 
wide. Fig. 2 shows the covers of the book 
laid flat upon the paper, and the pencil mark¬ 
ing their size and shape. Fig. 3 shows the 
corners and the V-shaped openings marked 
for cutting. Fig. 4 shows the margins on 
the left cover folded over and pasted down. 
When the margins on the right side are 
folded and pasted, the first and last blank 
pages of the book (see 1 and 2 in Fig. 4) are 
to be pasted down over the margins. This 
holds the cover in place. Fig. 5 shows the 
decoration, which is put on with colored 
crayon. It will be better to decorate your 
paper first. Then you can mark the pattern 
for your cover on the wrong side. 


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Games and Occupations: Have you noticed how the shapes of people change as 
they bend their bodies to do different things? Watch the children on the playground. 
Some are kneeling, some running, some hopping, some bendirig, some are pushing or 
carrying or pulling or dragging. All of these occupations or actions can be expressed 
by flat pictures or shapes. Try to draw with gray wash or to cut from paper shapes 
that will show many different actions. 























r 





Sketches From Live Animals: Any animal that you have a chance to observe 
closelv, either at home or at school, will be a most interesting subject for study. First 
block in the general shape and proportion of the body. Study with particular care 
the shape of the head and the location of the eye. If the animal has strong characteris¬ 
tics, be sure to draw them accurately. 

When the form and especial features of your subject are accurately set down, lay 
on the crayon strokes or the water color washes, according to the medium you are us- 
ing. The sketches above illustrate a wash drawing and a crayon sketch. 






























17 



The Changing Seasons: Would you like to live in a country where the seasons 
never change? There are many children in the world who have never seen the snow, 
and who would not know what to do with skates or sleds. There are a few children, 
also, who have never seen green grass, or bright flowers or large trees. Do you know 

WhC The boys and 6 gir^in most parts of our country enjoy the sports of all seasons. 
Thev like the winter, with its snow and ice; they like to fly kites when the spring 
winds blow they even enjov the rain when they can use umbrellas and rubber coats, 
and^the sum mer ^anc^autumn, when they come,bring beautiful days, spent m the woods 

and fields. ... , . 

Draw a picture of the season you like best. 









































19 


INTERESTING OBJECTS DRAWN WITH COLORED CRAYONS 

To the Teacher 

There are several reasons for the choice of Japanese objects, for the work illus¬ 
trated on page 20. First, the toy umbrella has the charm of novelty, and the 
advantage of being interesting in two positions, as open and shut. Second, both 
umbrella and lanterns are fine in color, and can be used as permanent decorations of 
the schoolroom, if they are properly placed, although the colors are intense. Third, 
the peculiar texture of the objects renders them suitable for colored crayon treat¬ 
ment. They are easier to represent than pottery or flowers, and the fact that 
the colored crayon strokes can be applied so loosely and freely, without injury to 
the general effect, is another point in their favor. 


How to Draw a Japanese Umbrella 

Choose bogus or neutral gray paper for this exercise. One umbrella of good 
size and of fine color, will be adequate for the lesson. Open it, and arrange it 
on the teacher’s desk, so that all pupils can see its outline—an ellipse. Without go¬ 
ing into the discussion of scientific perspective, ask the children to draw what they 
see. Let “What do you see?” and “How do you see it?” be the basis of criticism 
in this lesson. Sketch first light lines, showing the shape and position of the um¬ 
brella. Use a black crayon. Be careful about locating the apparent center of the 
ellipse, where the handle disappears. The correct placing of the handle will help 
determine the apparent width of the ellipse. Then draw the ribs of the umbrella, 
spacing them as equally as possible on the outside, and letting the lines disappear 
almost entirely, as they approach the center. Then lay on the color strokes, with a 
well sharpened crayon. The direction of these strokes should follow the direction 
of the strokes showing the ribs. Finish the drawing of the handle, and add any 
other features which the particular model studied presents. 


How to Draw Japanese Lanterns 

Sketch first very lightly the general outline of the lantern, using the crayon that 
is nearest the color of the lantern studied. Then with black crayon, draw the 
shapes of the top and bottom rims. Notice that the rims do not appear exactly 
alike ; a narrow ellipse appears on the bottom rims, providing, of course, that the 
lanterns are hung above the level of the eye. Before finishing the rims in black 
value, notice where the bright little spot of high light occurs. This may be indi¬ 
cated with white chalk, before the black crayon is laid on, or it may be left un¬ 
touched, leaving, when the sketch is finished, a bit of the background showing 
through. Draw the black hangers in outline. Next lay on with vertical strokes 
of black crayon the value of the rims and the hangers. Now lay on loosely and 
freely, with a well sharpened crayon, the curving strokes of color for the body of 
the lantern. Lay the strokes so that the background shows through, and work 
for a slight effect of light and shade, by making the color strokes heavier in some 
places than in others. Be sure to leave the outline of the lantern broken and ir¬ 
regular; this helps in giving the drawing a papery and collapsible quality. 

Add the bright tassels at the bottom. Draw very definitely but in fine lines 
that portion of the cord that will make your lanterns appear to hang from some¬ 
thing. 




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JAPANESE MODELS DRAWN WITH COLORED CRAYONS 






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22 


PICTURE STUDY: SPRING 
By Anton Mauve 

Picture Composition 

The picture called “Spring” shown on page 20 was painted by Anton Mauve, 
a native of Holland. It is apparently simple in its composition ; that is, there are 
only a few things that the artist has tried to show. These few things, however, he 
has thought out with the greatest care. We see a sky space, a wide foreground, a 
distant grove, a row of trees leading back into the picture, and, most interesting of 
all, a flock of sheep massed together in the foreground. 

The Treatment of the Sky 

If we look at the sky space in the picture we can hardly see the definite shape 
of a single cloud, yet we know that the clouds are there, and that they are charged 
with rain. The color of rain-laden clouds has been so truthfully painted that we 
feel the damp atmosphere, the subdued light and other weather conditions that pre¬ 
vail just before a spring shower. This treatment of the sky, which tells so much in 
such a simple way, is one thing that makes the picture great. 

The Foreground 

The part that seems to be nearest us in a picture is called the foreground. In 
the broad expanse of meadow-land in our picture, we see foreground, middle dis¬ 
tance, and distance. These are terms which you must learn to understand and use. 
Distance is the part that is farthest away. In this picture, distance is represented 
by a grove of trees. In painting a landscape, we speak of putting in a line of dis¬ 
tance. This means that we paint over the line where the earth and sky seem to meet 
a horizontal mass that suggests trees or bushes or distant hills. In a painting 
of the sea, distance might be expressed by a ship near the horizon line, in very 
small size, because of its great distance away. By middle distance we mean that 
part of a picture between the distance and the foreground. In our picture the line 
of distance is placed above the middle of the canvas. This divides the space into 
pleasing proportions, and also helps to express the broad, flat meadow or field 
where the sheep are grazing. In Holland, the country where this picture is 
painted, there are very few hills. The rain falls frequently and the grass is rich 
and juicy. These qualities are all expressed by Mauve’s treatment of the fore¬ 
ground. The row of trees placed at the right of the picture again divides the space 
well, and makes us look back into the picture. This makes the meadow look wider. 
If the row of trees had been painted from left to right, the effect of distance would 
not have been so great. 

The Chief Interest 

But clever as is the treatment of sky, foreground, distance and trees, our chief 
interest is in the flock of sheep. They are huddled together in true sheep fashion 
near the middle of the picture. Their color, in general a light gray yellow-orange, 
is in contrast to the deep green of the grass. A few sheep that are nearest are 
carefully drawn, so that we see the shapes of heads, ears, eyes, and other charac¬ 
teristics; but the greater part of the flock is painted as one mass, very simply and 
broadly, but with all the quality and color of sheep’s wool. The figure of the shep¬ 
herd is also carefully placed a little to the right of the center, rather than ex¬ 
actly in the middle, and the dark shape of the dog is seen, with his ears alert, 
painted against the light color of a sheep. Notice the wooden shoes of the shep¬ 
herd, his weather-stained coat, and his shepherd’s crook. How well the shape of 
his heavy figure is expressed, through the folds of his clothing! 

Anton Mauve painted many pictures of sheep, in a great variety of landscape 
effects. He was born in Holland in 1838 and died in 1888. 









24 



METROPOLITAN ART MUSEUM, DEER IN THE FOREST. MARIE ROSA BONHEUR 

NEW YORK 


Picture Study: The artist who painted the original of this picture has been called 
the most accomplished woman painter that ever lived. She was born in France in 
1822, and was instructed almost entirely by her father, who was also an artist. At 
the age of four years the little girl began to show a passion for drawing. At first she 
copied the pictures of other artists, but she soon began to make studies and sketches 
from animals, which seemed to interest her more than anything else. The first picture 
that she exhibited (in 1847) won her a gold medal, and she rapidly became known all 
over the world. The original of the picture given on this page hangs in the Metropoli¬ 
tan Museum, in New York. It shows a quiet spot in the forest, with twilight gleam¬ 
ing through the trees. Autumn leaves have fallen and their bright tints are scattered 
over the uneven ground. In the center are three deer; two lying down and the third 
on the alert, as though on guard for the two that are at rest. A feeling of silence is 
expressed by the quiet coloring, and by the attitudes of the deer. 

Marie Rosa Bonheur was a fine and generous woman, as well as a great artist. She 
was simple in her tastes, and was greatly beloved by all who knew her. During the 
Franco-Prussian War her studio and residence near the forest of Fontainebleau in 
France were in great danger of being destroyed by the Prussian soldiers. But the 
Crown Prince of Prussia, hearing of her anxiety, gave orders to his soldiers to care¬ 
fully protect her home and property, and assured her that she might continue to paint 
her pictures in peace. 

Her pictures of animals will always be known. How many can you name? 
















Geometric Forms and Related Objects: Here are some geometrical solids,—the 
cone, the cylinder and two hemispheres. The pictures on this page show objects that 
are like them. Can you think of other objects that are also like these solids? Draw 
a picture of the cone and under it draw something you can think of that is like the 
cone. Then draw the cylinder and under it something that is like the cylinder. Draw 
the hemispheres and under them draw something of similar form. 






























































An Alphabet Drawn on Squared Paper: Squared paper is of the greatest assistance 
in learning the proportions of letters. In the alphabet on this page the letters are all 
four squares high and are nearly all three squares wide. M and W are four squares 
wide, and I is only the width of the line used in drawing. 

If you have no paper with printed lines and squares, you can easily rule some for 
yourself. The lines are a quarter-inch apart, and should be ruled lightly with a sharp 
pointed pencil. Copy the letters on this page, working with your black crayon, well 
sharpened. Try for an even, direct stroke, and count the squares in each letter, and the 
squares between the letters. When you have memorized the letters, make combina¬ 
tions to form words that are usually seen by themselves, such as the names of days of 
the week, or months of the year. 

















































































































































Titles For School Work: There is no part of your training in drawing that you 
will find more useful than ability to “letter” well. A single alphabet of good propor¬ 
tions will provide you with letters for titles, announcements, signs and many other let¬ 
ter combinations. Squared paper helps you to space the letters themselves, and the 
distances between words. First draw the rectangle that is to contain the word or 
title. Then carefully estimate the number of squares required for the letters. There 
should be equal spaces at the right and left ends of the rectangle. 

























A Design For Cross-Stitch Embroidery: Many articles can be decorated with cross- 
stitch embroidery. We can make shapes from animal forms by drawing them first on 
squared paper. We must then try to express the shape of the animal by using straight 
lines only. After this we can fill the shapes with crosses, as shown in the small 
sketches at the right. By counting the stitches we can embroider the design on canvas 
or burlap. The bag on this page shows a border, worked in cross-stitch. The cord 
that is run through the top is decorated with bright colored Indian beads. 

Make cross-stitch designs from some animal form not seen in the drawings on this 
page. 


































36 



A Red Ridinghood Button Box: .To make this useful and attractive button box 
select stiff gray paper. Study carefully the measurements given on the pattern shown 
in this page. With your ruler draw the pattern exactly as it is shown. All the in¬ 
formation that you need is given in the pattern. When you have cut out the pattern, 
fold and paste your box in shape. You are then ready for the Red Ridinghood de¬ 
sign. Cut from manila paper a shape that looks like a little girl with a hood and coat 
on. Use this shape as a pattern and place it on bright red paper. Trace around the 
pattern and cut out the bright red shape. Paste this on the front side of your box. 
Red Ridinghood’s face is a round bone button. The two holes in the button are her 
eyes. Sew this on the bright red shape where you think the face ought to be. A little 
muff can be cut of black paper and pasted in place. The picture above shows how Red 
Ridinghood ought to look. If your box needs tie strings, fasten small buttons on the 
ends of gray tape and draw the tapes through small holes made in the right and left 
sides of your box. You can then shut down the cover and tie the box securely. 





























\ Two thin 
I slender 
Slicks 
\ OK -Slats 


Strips of Cloth 
Jot Tail 


The Making of a Kite: While the girls are making the button box given on page 
3G, the boys might make a kite, following the steps indicated in the sketches above. 
If this is not practicable, either or both exercises could be worked out at home. The 
right material should be selected in school, and the quality of the result should be 
passed upon by the teacher, when the finished product is brought to school. A showing 
of home work would be a very attractive feature in any school exhibit. 


Nail with 
brad or 
ihin wire 
nai I 


shown 


C over entire 
Frame with paper 
Glue down Light and 
arrange juy strings as 




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Ah crossing wrap 
with stout Twine 


Fasten a strong 
Twine jrorn one 
v Cross tip to 
inother % 


























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nanrn.^;^” ; — j —— 


DECORATIVE ARRANGEMENTS IN NORMAL COLORS TINTS AND SHADES 


B(Ww^*%«o»*»WW9fc 























40 


POSTER EFFECTS IN NORMAL COLORS, TINTS AND 
SHADES: PAPER CUTTING 

To the Teacher 

The exercises on page 39 are to be carried out with direct reference to the Color 
Chart on page 2. If colored papers in all the tones desired are not available, the 
pupils of this grade could mix water colors and spread flat washes of the colors 
needed, following out the directions given on page one in Book Three and on page 
one in this book for laying tints and shades of a color. Exercises involving flat 
shapes and tones of intense color are especially adapted for the so-called poster 
work. Such ideas may be employed in planning illustrative material to be used as 
wall decorations, or in making posters to emphasize any particular season or event. 
Even if similar exercises are not carried out by the children the page will be very 
useful as an example of the use of flat tones of color, and also as an example of the 
use of normal colors, their tints and shades. 

The Landscape Poster 

In working out this design, four tones of green paper were selected,—normal 
green, one tint and two shades. The lightest tint was chosen for the sky effect, and 
was the largest piece used, as it was cut to the full size of the poster and thus served 
as a foundation upon which all the other shapes were pasted. The shape of the 
foreground was then cut from the normal green. This was laid over the lower por¬ 
tion of the lighter green piece, giving at once the suggestion of a portion of the- sky 
and the earth. The next step was the cutting of a line of distant tree masses, from 
the dark green paper. This strip of “distance” was slipped under the upper edge 
of the foreground shape, and pasted down. The other edges of the foreground 
were then secured by paste. Finally, the shape of the tree trunk and a portion of 
the foliage was cut from the darker green paper, and pasted in place. 

A landscape effect, cut from colored paper, would be a suitable decoration 
for a book-cover, or indeed for any decorative use. A pictorial landscape should 
never be used as a decoration. 

The Decorative Use of Still Life 

Shapes of pottery and other forms of still life are often used as decorative mo¬ 
tives. In Fig. 2 the shape of the Russian pitcher was carefully cut from manila 
paper. When it was corrected and refined by judicious trimming of the paper 
shape, a tracing was made upon the reverse side of a piece of normal orange paper. 
The traced shape was cut out and mounted upon a background made of two pieces 
of orange paper—a tint and a shade—cut into unequal proportions. 

Such a design as this would be suitable for the decoration of a cook-book, a 
menu card, an invitation to a tea party, or to any entertainment where coffee was to 
be served. It might also decorate a poster announcing the sale of pottery or house¬ 
hold utensils. 

Plant Forms in Flat Tones 

A growth of flowering bean was chosen in working out the color scheme shown 
in Fig. 3. Normal violet, two tints and a shade were used. The background was 
cut from the lightest tint. The shape of a seedpod was cut from each of the re¬ 
maining tones, and a leaf and the stems were cut of the shade of violet. These 
shapes were then assembled to indicate the arrangement seen in the specimen 
chosen. 

Such an arrangement as‘ this is suitable for decorative use in calendars, book 
covers, blotter backs, posters, etc. Always employ flat treatment in using plant 
forms decoratively. 


' US fs ! }b-' 





SUGGESTIONS TO TEACHERS 

(Continued from Page 2 , of cover.) 

Object Drawing 

Pages 20, 26 and 28. The beautiful effects made possible in object drawing by 
the right use of colored crayon and gray paper, are illustrated on page 20. This 
work is fully explained on page 19. Page 26 suggests a few of the many objects 
that may be drawn by the pupils, in illustrating basic geometric solids. The work 
on page 28 is especially valuable. Any object involving the perspective of circu¬ 
lar surfaces may be drawn in two positions. These are exercises that develop abil¬ 
ity to see, as well as ability to think. 

Lettering 

Pages 30 and 32. If squared paper is not provided for the pupils, they may 
make their own, by carefully setting off quarter-inch spaces on all edges of a 
9" x 12" sheet of manila or gray paper. Lines connecting these points should be 
lightly ruled, with a well-sharpened pencil. The alphabet should be faithfully 
copied, according to instructions given in the text. Simple letters of this kind 
should be used in printing titles or book-covers, covers for lesson papers, etc. The 
proper spacing of letters in word-groups is important. It is made much easier by 
the use of squared paper (page 32). 

Design 

Pages 9, 34 and 39. Such a lesson as is given on page 9 should follow the 
study of the berry-bearing twig. The text explains the processes. The making of 
a cross-stitch design from the rabbit should follow the naturalistic drawing of the 
rabbit, given on page 15. The decorative treatments of the flowering bean and the 
Russian pitcher are fully explained on page 40. 

Construction 

Pages 11, 34, 36 and 38. The cover for a pocket memorandum book (page 11) 
should be made in the fall, following the development of the surface repeat, from 
the berry motive. December would be a good time for making the button-box 
shown on page 36. The bag or some similar article decorated with an original de¬ 
sign from an animal form, should also be made as a Christmas gift for some one. 
The kite, on page 38, is primarily a boys’ exercise, and must be made in the season 
when kites are “in vogue.” 

Picture Study 

Pages 21 and 24. Mauve’s beautif d painting, as well as the “Deer in the For¬ 
est,” on page 24, will be helpful not only as masterpieces of art, but as illustrative 
of the treatment of landscape in combination with animals and figures. The pupils 
will greatly enjoy making a book or portfolio in which to keep a mounted collection 
of animal pictures. Encourage the making of picture-books at Christmas time, 
to be given to children who are likely to be without this prerogative of childhood, 
an attractive picture-book! 

Color Theory 

While the normal colors, their tints and shades may be freely discussed and 
used in many color exercises given during the year, the making of the Color Chart 
should be deferred until the latter part of the school term, in order that the chil¬ 
dren may gain all the experience possible in handling colors. These charts should 
be examples of the best technique possible to the pupil of that year. 










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